CATALOGUE 


ORCORAN 


GALLERY  OF 
ART= 


WASHINGTON,  D.  C. 
1905. 


T-A-rv.  ,  -  : 

k  -  :  -  ■  '-'5.  '  ■  ;&£* 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofcorcoOOcorc 


CATALOGUE 


THE  lORCORAN 

GALLERY  OF 
ART  — - 


WASHINGTON,  D.  C. 

1903. 


WASHINGTON,  D.  C.: 

GIBSON  BROS., 
Printers  and  Bookbinders. 
1902. 


BOARD  OF  TRUSTEES. 


SAMUEL  H.  KAUFFMANN.  THOMAS  HYDE. 

FREDERICK  B.  MgGUIRE.  BERNARD  R.  GREEN. 

CHARLES  C.  GLOVER.  JOHN  M.  WILSON. 

WILLIAM  CORCORAN  EUSTIS.  ARTHUR  JEFFREY  PARSONS. 

President. 

S.  H.  Kauffmann. 

Vice-President. 


Secretary. 

F.  B.  McGuire. 


Treasurer . 

Charles  C.  Glover. 


COMMITTEES. 


C.  C.  Glover. 


Bernard  R.  Green. 


S.  H.  Kauffmann. 


On  Finance. 

Thomas  Hyde. 

On  the  Building. 

F.  B.  McGuire. 

On  Works  of  A?-t. 

F.  B.  McGuire. 


On  Legislation. 

Bernard  R.  Green. 


John  M.  Wilson. 

John  M.  Wilson. 

C.  C.  Glover. 


A.  ).  Parsons. 


On  Accounts. 

Thomas  Hyde.  John  M.  Wilson. 

Director. 

Frederick  B.  McGuire. 

Clerk  of  the  Gallery. 

C.  Powell  Minnigerode. 


Jayiitor. 

Benjamin  V.  Darrell. 


semi  Edition. 

(10,000  of  the  new  revised  edition.) 

In  all,  220,000. 

Note. — All  measurements  in  this  Catalogue  are  given  in  inches,  except  when 
otherwise  indicated. 


Washington,  D.  C. 

January,  1903. 


THE  CORCORAN  GALLERY  OF  ART, 


MAIN  ENTRANCE  ON  SEVENTEENTH  STREET. 

HISTORY  OF  THE  CORCORAN  GALLERY  OF  ART. 

The  Corcoran  Gallery  of  Art,  originally  located  at  the 
Corner  of  Seventeenth  Street  and  Pennsylvania  Avenue,  includ¬ 
ing  ground,  building,  its  contents,  and  endowment  fund,  was 
the  gift  of  the  late  Mr.  William  Wilson  Corcoran  to  the  public 
by  deed,  dated  May  i  o,  1 869,  “  to  be  used  solely  for  the  purposes 
of  encouraging  American  genius  in  the  production  and  pres¬ 
ervation  of  works  pertaining  to  the  Fine  Arts,  and  kindred 
objects,”  with  the  condition  that  it  should  be  open  to  visitors 
without  any  pecuniary  charge  whatever  at  least  two  days  in 
each  week,  with  authority  to  charge  for  admission  at  other 
times  such  moderate  and  reasonable  fee  as  might  be  prescribed, 


8 


HISTORY  OF  THE  CORCORAN  GALLERY  OF  ART. 


the  proceeds  arising  therefrom  to  be  applied  to  the  cut  rent 
expenses  of  the  Institution. 

The  Institution  was  chartered  by  Act  of  Congress  May  24, 
1870.  By  that  act  the  building  and  its  contents  were  declared 
exempt  from  all  taxation. 

The  building  was  designed  by  Mr.  James  Renwick,  architect, 
and  begun  in  i8s9,  but  before  completion,  early  in  1861,  it  was 
occupied  by  the  United  States  Quartermaster-General’s  Depart¬ 
ment  until  1869. 

On  the  10th  of  May,  1809,  its  owner  placed  it  in  the  hands 
of  a  Board  of  nine  Trustees  for  the  purposes  already  named. 
After  the  Institution  was  incorporated  by  Congress,  in  1870,  the 
general  work  of  reconstruction  and  adaptation  of  the  building 
to  its  original  purpose  was  begun,  and  finished  in  1871. 

On  the  22d  of  February,  1871,  Mr.  Corcoran  gave  a  ball 
and  reception  in  the  building  in  honor  of  the  day,  the  pro¬ 
ceeds  of  which  he  presented  to  the  fund  of  the  Washington 
Monument  Society.  In  1873  a  Trustee  went  to  Europe  em¬ 
powered  to  purchase  works  of  art  for  the  Gallery,  and  Mr. 
Corcoran's  private  collection  of  pictures  and  statuary  was  then 
placed  in  it.  On  November  6,  1873,  the  Board  of  Trustees 
completed  the  organization  of  the  Institution. 

On  the  19th  of  January,  1874,  the  Picture  Galleries,  Octagon 
Room,  and  the  Hall  of  Bronzes  were  thrown  open  for  private 
exhibition  by  day  and  night,  Mr.  Corcoran  receiving  the  con¬ 
gratulations  of  his  friends  upon  the  fulfilment  thus  far  of  his 
munificent  plans. 

On  April  29,  1874,  the  Halls  of  Sculpture  and  of  Bronzes  were 
opened  to  the  public,  and  in  December,  1874,  the  two  side 
galleries  of  sculpture  adjoining  the  Main  Hall;  so  that  all  the 
rooms  of  the  Institution  for  exhibition  purposes  were  then 
opened  to  the  public. 


THE  PRESENT  GALLERY. 


9 


THE  PRESENT  GALLERY. 

The  building  mentioned  above  was  used  for  the  purposes 
for  which  it  was  intended  until  it  became  apparent  that,  as 
planned,  it  would,  in  a  comparatively  short  time,  be  wholly 
inadequate  for  the  proper  display  of  the  works  of  art  belonging 
to  the  Gallery,  while  larger  and  better  facilities  were  already 
required  for  the  rapidly-growing  Free  School  of  Art,  for  which 
thoughtful  provision  had  been  previously  made  by  Mr.  Cor¬ 
coran.  At  the  same  time  it  was  found  that,  through  inability 
to  acquire  land  adjoining  its  site,  it  would  be  impossible  to 
enlarge  the  then  existing  building  so  as  to  meet  the  future 
wants  of  the  two  establishments.  These  conditions  impressed 
upon  the  minds  of  the  Trustees  the  necessity  of  providing, 
without  delay,  for  the  erection  of  a  larger,  more  conveniently 
arranged,  and  better  lighted  building,  upon  a  plot  of  ground 
large  enough  to  not  only  furnish  space  for  the  projected  struc¬ 
ture,  but  also  to  provide  for  such  enlargements  of  the  Gallery 
as  might  be  required  from  time  to  time  to  suitably  house 
future  acquisitions  of  paintings,  sculptures,  etc.  With  these 
ends  in  view,  steps  were  taken  to  find  and  secure  a  proper 
location,  and  on  the  3d  of  April,  1891,  the  purchase  of  a  por¬ 
tion  of  Square  17 1,  fronting  on  Seventeenth  and  E  Streets, 
respectively,  on  the  east  and  south,  and  on  New  York  Avenue 
on  the  north,  was  ordered,  and  subsequently  purchased. 

On  the  9th  of  January,  1892,  it  was  determined  to  erect 
a  new  Gallery  building,  as  indicated  above,  on  the  eastern 
portion  of  the  ground  thus  secured,  and  designs*and  plans  for 
the  proposed  structure  were  invited  from  a  number  of  prom¬ 
inent  architects.  Those  submitted  by  Mr.  Ernest  Flagg,  of 
New  York,  were  deemed  best,  and,  after  some  alterations  and 


IO 


THE  PRESENT  GALLERY. 


modifications,  they  were  accepted,  and  he  was  employed  to 
carry  them  out,  under  the  supervision  of  a  special  committee, 
created  and  empowered  for  that  purpose,  and  contracts  were 
authorized  and  entered  into  accordingly,  as  follows: 

On  |une  2b,  1895,  the  ground  for  the  foundation  of  the  new 
building  was  broken. 

On  October  9,  1893,  the  contract  was  made  for  the  stone 
foundations. 

On  January  31,  1894,  the  contract  for  the  basement  walls 
was  let. 

On  May  10.  1894,  the  corner-stone  was  laid  with  appro¬ 
priate  ceremonies. 

On  June  23,  1894,  the  contract  for  the  erection  of  the  build¬ 
ing  was  accepted;  and,  on  January  8,  1897,  the  keys  of  the 
building  were  delivered  to  the  Trustees  and  the  work  of  trans¬ 
ferring  the  works  of  art  from  the  old  to  the  new  building 
was  commenced. 

On  the  evening  of  the  22d  of  February,  of  the  same  year, 
the  new  building  was  first  formally  opened,  for  a  private  view, 
to  which  more  than  three  thousand  invitations  were  issued. 
The  invitations  were  largely  accepted,  and,  notwithstanding 
the  inclement  weather  of  the  evening,  the  several  rooms  were 
at  times  filled  to  their  utmost  capacity.  The  attendance  in¬ 
cluded  the  President  of  the  United  States  and  Mrs.  Cleveland; 
the  members  of  his  Cabinet  and  their  wives;  Foreign  Ambas¬ 
sadors  and  Ministers,  and  members  of  their  respective  legations; 
Senators  and  Representatives  in  Congress;  the  Judiciary; 
Artists  and  Connoisseurs  of  the  Arts;  officers  of  the  Army  and 
Navy,  and  hundreds  of  other  ladies  and  gentlemen  prominent 
in  private  and  public  life.  The  whole  building  was  brilliantly 
illuminated  by  over  three  thousand  electric  lights,  presenting  a 
scene  of  rare  beauty,  and  music  by  the  Marine  Band,  which 


THE  PRESENT  GALLERY. 


I  1 


was  present  by  courtesy  of  the  Secretary  of  the  Navy,  added 
to  the  charm  of  the  occasion.  The  Reception  Committee  con¬ 
sisted  of  the  members  of  the  Board  of  Trustees,  as  then  con¬ 
stituted,  as  follows : 


Edward  Clark. 

Samuel  H.  Kauffmann. 
Frederick  B.  McGuire. 
Walter  S.  Cox. 


Charles  C.  Glover. 
Calderon  Carlisle. 
Matthew  W.  Galt. 
William  Corcoran  Eustis. 


Thomas  Hyde. 


13'A9’-6" 


S 

© 


<32 

<3} 


DESCRIPTION  OF 


THE  BUILDING. 

The  building  stands 
with  its  main  front  on 
Seventeenth  Street,  ex- 
tendingfrom  New  York 
Avenue  on  the  north 
to  E  Street  on  the 
south,  a  distance  of 
259  feet,  extending 
back  133  feet,  and  oc¬ 
cupies  about  half  of 
the  lot. 

,The  style  of  Architecture 
is  Neo-Grecian,  the  material 
being  white  Georgia  marble, 
on  a  basement  of  Milford  pink 
granite.  The  first  story  is  pierced  by  windows;  the  second 
story  rises  in  a  solid  white  wall  broken  only  by  a  row  of  open¬ 
work  marble  panels  along  the  upper  edge,  used  as  ventilators 
to  the  Galleries. 

Between  these  panels  and  the  cornice,  which  is  rich  in  orna¬ 
mental  carving,  extends  a  narrow  frieze  bearing  in  Roman 
letters  the  names  of  some  of  the  most  famous  painters  and 
sculptors  of  ancient  and  modern  times.  The  roof  of  glass 
slants  sharply  upward  to  the  ridge,  which  is  finished  by  a 
cresting  of  bronze,  terminating  at  each  end  of  the  building  in  a 
winged  griffin. 


DESCRIPTION  OF  THE  BUILDING. 


16 


The  severity  of  the  elevation  is  broken  by  the  curve  at  the 
north  end,  in  which  is  located  the  Art  School.  It  also  contains 
a  lofty  semicircular  room,  designed  for  lectures,  etc.,  and  like¬ 
wise,  if  necessary,  for  exhibition  purposes. 

The  main  entrance  to  the  building  is  on  Seventeenth  Street. 
On  either  side  of  the  steps,  upon  white  marble  pedestals,  rests 
a  colossal  bronze  Lion,  cast  from  moulds  made  over  the  famous 
Lions  by  Canova,  which  guard  the  tomb  of  Clement  XIII,  in 
St.  Peter's,  Rome. 

Passing  through  this  entrance,  a  broad  and  easy  flight  of 
stairs  leads  directly  to  the  main  corridor  or  atrium.  This  is 
the  largest  hall  in  the  building,  being  170  feet  long  and  so  feet 
wide,  running  north  and  south  of  the  main  entrance  on  the 
first  floor.  Its  light  comes  through  openings  or  light  wells  in 
the  ceiling  above,  which  is  supported  by  forty  fluted  monolith 
columns  of  Indiana  limestone.  This  spacious  hall  is  devoted 
to  the  exhibition  of  casts  from  sculptures  of  the  antique  and 
renaissance  periods.  The  rooms  surrounding  it — except  those 
required  for  the  library,  administration  purposes,  etc. — are  also 
given  up  to  original  marbles,  casts,  bronzes,  etc.,  including 
the  large  and  valuable  collection  of  the  works  of  the  late  Antoine 
Louis  Barye,  the  eminent  French  sculptor  of  animals. 

Directly  in  front,  upon  entering,  and  upon  the  further  or 
western  side  of  the  hall  or  atrium,  rises  the  grand  white  mar¬ 
ble  staircase,  fifteen  feet  in  width,  and  of  easy  tread,  which 
leads  to  the  second  story  atrium,  of  the  same  dimensions  as 
the  one  below.  This  has  an  immense  skylight  supported  by 
thirty-eight  fluted  monolith  columns,  also  of  Indiana  limestone. 

Ten  large  doorways  with  sliding  doors,  lead  from  the  atrium 
to  the  galleries  for  paintings — three  fine  large  rooms  on  Seven¬ 
teenth  Street,  two  small  and  one  large  one  on  E  Street,  and  two 
still  larger  on  the  west,  on  either  side  of  the  main  staircase,  all 


DESCRIPTION  OF  THE  BUILDING. 


I? 


admirably  adapted  for  their  purpose  and  perfectly  lighted, 
whether  for  day  or  night  exhibitions. 

The  entrance  on  the  north  or  New  York  Avenue  side  of  the 
building  leads  to  the  Exhibition  Hall,  a  spacious  room,  of 
beautiful  proportions,  and  also  to  several  of  the  rooms  set  apart 
for  the  School  of  Art. 

The  dimensions  of  all  the  rooms  and  galleries  are  given  on 
the  accompanying  floor  plans. 

The  gallery  is  closed  to  the  public  every  summer,  for  necessary 
renovation,  etc.,  from  the  first  of  July  to  the  first  of  October. 
It  is  open  on  other  days  as  follows: 

On  Sundays,  from  November  1st  to  July  1st,  from  1 :  30  to 
4 :  30  P.  M. 

On  Mondays  from  12:00  M.  to  4:00  P.  M. 

On  Tuesdays,  Wednesdays,  Thursdays,  Fridays,  and  Satur¬ 
days  from  9:  30  A.  M.  to  4:00  P.  M.  from  October  1st  to  May 
1  st,  and  from  9:00  A.  M.  to  4:00  P.  M.  from  May  1st  to 
July  1st. 

On  Christmas  Day  it  is  closed  to  the  public,  but  on  other 
public  holidays  it  is  open  from  10:00  A.  M.  to  2:00  P.  M. 

On  public  holidays  and  Tuesdays,  Thursdays,  Saturdays,  and 
Sundays  the  admission  is  free. 

On  Mondays,  Wednesdays,  and  Fridays  an  admittance  fee  of 
25  cents  is  charged. 

For  information  concerning  Copying,  Art  Education,  etc.,  see 
Rules  and  Regulations,  separately  printed,  to  be  had  by  appli¬ 
cation  to  the  Principal  of  the  Art  School. 

Photographs  of  the  principal  paintings  and  other  works  of 
art  in  the  Gallery  are  for  sale  at  the  door,  where  a  catalogue 
of  them  may  be  obtained. 


NO.  I. 


MR.  CORCORAN.. 


CHARLES  L.  ELLIOTT. 


MAIN  STAIRWAY. 

PAINTINGS. 

Note. — The  dimensions  of  paintings  in  this  Catalogue  are  given  in  inches, 
the  figures  named  first  indicating  the  height,  the  others  the  width  of  the  canvas. 

I. 

ELLIOTT,  CHARLES  LORING. 

Born  at  Scipio,  New  York,  1812  ;  died  at  Albany,  New  York,  1868.  Pupil  of 
Col.  John  Trumbull  and  Quidor.  Elected  Associate  of  the  N.  A.  D.  in  1845,  and 
Academician  in  1840. 

PORTRAIT  OF  MR.  CORCORAN. 

Born  December  27,  1798.  Died  February  24,  1888. 

Painted  1867.  98x70. 


20 


PAINTINGS. 


2. 

COLE,  THOMAS. 

Born  at  Bolton  le  Moore,  England,  February  1,  1801  ;  died  near  Catskill,  New 
York,  February  11,  1848.  In  1819  his  father  emigrated  to  America  and  settled 
in  Ohio,  where  he  first  learned  the  rudiments  of  his  art  from  a  portrait  painter 
named  Stein.  Two  of  his  allegorical  series,  “  The  Course  of  Empire  ”  and  “  Voy¬ 
age  of  Life,”  were  very  popular. 

THE  DEPARTURE. 

Painted  1837.  39x63. 


T 

COLE,  THOMAS.  (See  No.  2.) 

THE  RETURN. 

Painted  1837.  39x63. 


4- 

BOUGHTON.  GEORGE  HENRY. 

Born  in  England,  1834.  His  family  went  to  Albany,  New  York,  in  1837.  First 
exhibited  at  the  National  Academy  of  Design,  New  York,  in  1858.  Made  an 
Academician,  1871.  Associate  Member  of  the  Royal  Academy,  1870,  and  of  the 
Royal  Institute  of  Painters  in  Water  Colors,  London,  1887,  where  he  is  now 
resident  R.  A.,  1896. 


THE  HEIR  PRESUMPTIVE. 

Painted  1873. 


42x72. 


5- 

HARRISON,  THOMAS  ALEXANDER. 

Born  at  Philadelphia,  Pa.,  January  17,  1853.  Pupil  of  Pennsylvania  Academy 
of  Fine  Arts,  Ecole  des  Beaux  Arts,  and  of  Gerome.  Medal  Paris  Exposition 
Universelle,  1889;  Chevalier  Legion  of  Honor  and  Officer  destruction  Publique. 
Medal,  Munich  Salon. 


Painted  1883. 


TWILIGHT. 


35x70. 


GOING  TO  PASTURE. 


PAINTINGS. 


2  I 


6. 

COLE,  THOMAS.  (See  No.  2.) 

THE  TORNADO. 

Painted  1831. 


4SX64. 


7- 

BROOKE,  RICHARD  NORRIS. 

Born  at  Warrenton,  Virginia,  October  20,  1847. 


A  PASTORAL  VISIT. 

Painted  1881. 


46x62. 


PORTER,  BENJAMIN  CURTIS. 

Born  at  Melrose,  Mass.,  August  29,  184;.  Elected  A.  N.  A.,  1875;  N.  A., 
1880. 

LADY  AND  DOG. 

Painted  1876.  50x30. 


9- 

TRUESDELL,  GAYLORD  SANGSTON. 

Born  at  Waukegan,  Ill.,  June  1,  1850;  died  at  New  York,  June  14,  1S99.  He 
began  his  studies  in  Philadelphia,  working  there  three  years.  He  went  to  Paris  in 
1885.  Pupil  of  Morot  and  Cormon.  Exhibited  regularly  at  the  Salon  since  1886. 
Bronze  Medal  at  the  Exposition  Universelle,  1889.  Medal  of  the  Second  Class  at 
the  Salon,  1892.  Hors  Concours,  Salon  des  Champs  Elysees. 

GOING  TO  PASTURE. 


Painted  1889. 


77X  103. 


22 


PAINTINGS. 


IO. 

GRAY,  HENRY  PETERS. 

Born  at  New  York,  1819;  died  there,  1877.  Began  the  study  of  art  under 
Huntington  in  1839,  afterwards  went  to  Rome  and  Venice. 

THE  JUDGMENT  OF  PARIS. 

Painted  1861.  50x40. 


1  I. 

SMILL1E,  GEORGE  HENRY. 

Born  at  New  York,  December  20,  1840.  Elected  member  of  Society  of 
American  Artists. 


AUTUMN  ON  MASSACHUSETTS  COAST. 

Painted  1888.  25x50. 

Gift  of  Ralph  C.  Johnson. 


12. 

RICHARDS,  WILLIAM  TROST. 

Born  at  Philadelphia,  1833.  Pupil  of  Paul  Weber.  Exhibited  at  the  Royal 
Academy,  London,  1869  and  1 878— ’8 1 ;  Paris  Salon,  1873. 

ON  THE  COAST  OF  NEW  JERSEY. 

Painted  to  order  for  this  Gallery,  1883.  40x72. 


1 3- 

DOUGHTY,  THOMAS. 

Born  at  Philadelphia,  1793;  died,  1856. 


AUTUMN  SCENE  ON  THE  HUDSON. 


Painted  1850. 


30x48. 


ON  THE  COAST  OF  NEW  JERSEY. 


PAINTINGS. 


2? 


14. 

LAZARUS,  JACOB  H. 

Born  at  New  York,  October  4,  1823;  died  there,  January  1,  1891.  Student  of 
Henry  Inman  in  1843;  was  made  an  Associate  of  the  National  Academy  of  Design, 
New  York,  1849. 

ODALISQUE. 

36x61 . 

Gift  of  Mrs.  Amelia  B.  Lazarus. 


15- 

DOUGHTY,  THOMAS.  (See  No.  13.) 

LANDSCAPE. 


7x13. 


16. 

BROWN,  JOHN  G. 

Born  at  Durham,  England,  November  11,  1831.  Studied  at  Edinburgh  Acad¬ 
emy.  Elected  N.  A.,  1863. 

ALLEGRO  AND  PENSEROSO. 

Painted  1 864— ’5.  8x14. 


'7- 

SMILL1E,  GEORGE  HENRY.  (See  No.  11.) 

A  LONG  ISLAND  FARM. 

19x33. 


18. 

BOUGHTON,  GEORGE  HENRY.  (See  No.  4.) 

EDICT  OF  WILLIAM  THE  TESTY. 

Illustrates  a  passage  from  Irving’s  “  Knickerbocker’s  History  of  New  York,” 
Chapter  8. 

Painted  1877. 


42x66. 


24 


PAINTINGS. 


19. 

KENSETT,  JOHN  FREDERICK. 

Born  at  Cheshire,  Conn.,  1818;  died  at  New  York,  1872.  Exhibited  at  the 
Royal  Academy,  London,  in  1845.  Elected  N.  A.  in  New  York  in  1849. 

HIGH  BANK,  GENESEE  RIVER. 

Painted  1857.  30x48. 


20. 

BRIDGMAN,  FREDERICK  ARTHUR. 

Bom  in  Alabama,  1847.  Medals,  Paris  1 877— ’78 ;  Legion  of  Honor,  1878. 

PROCESSION  OE  THE  SACRED  BULL  APIS-OSIRIS. 

[When  the  ancient  Egyptians  found  a  black  and  white  bull  marked  with  a  tri¬ 
angular  spot  in  the  forehead  and  a  cross  on  his  back  they  believed  that  the  animal 
contained  the  spirit  of  their  god  Osiris,  and  was  held  sacred.  The  picture  rep¬ 
resents  a  procession  in  his  honor.] 

Painted  1879.  36x69. 


21. 

CHASE,  HARRY. 

Born  at  Woodstock,  Vt. ,  1853;  died,  1889.  Elected  A.  N.  A.,  1883.  Awarded 
the  Hallgarten  Prize,  National  Academy  of  Design,  New  York,  1885. 

THE  HARBOR  OF  NEW  YORK. 

Painted  1885.  46x70. 


22. 

LEUTZE,  EMANUEL. 

Born  at  Gmiind,  Wiirtemburg,  May  24,  1816;  died  at  Washington,  July  18, 
1868.  Studied  under  Lessing.  Elected  N.  A.  in  i860. 

THE  AMAZON  AND  HER  CHILDREN. 


Painted  1851. 


41x62. 


PAINTINGS. 


25 


23. 

KENSETT,  JOHN  FREDERICK.  (See  No.  19.) 

AUTUMN  AFTERNOON  ON  LAKE  GEORGE. 

Painted  1864.  48x72. 


24. 

CHURCH,  FREDERICK  EDWIN. 

Born  at  Hartford,  Conn.,  May  4,  1826.  Pupil  of  Thomas  Cole.  Elected  N.  A. 
in  1849.  Medal  Second  Class,  Paris,  1867. 

NIAGARA  FALLS. 

Painted  1857.  42x89. 


25. 

GRAYSON,  CLIFFORD  PREVOST. 

Born  at  Philadelphia,  1859.  Pupil  of  Pennsylvania  Academy  and  of  Gerome. 

MID-DAY  DREAMS. 

Awarded  to  The  Corcoran  Gallery  of  Art  in  the  Competitive  Exhibition  by  the 
American  Art  Association,  New  York,  1886. 

Painted  1886.  50x35 . 


26. 

DURAND,  ASHER  BROWN. 

Born  at  South  Orange,  N.  j.,  August  21,  1796;  died  there,  1886.  He  studied 
engraving  with  his  father  and  with  Peter  Maverick,  whose  partner  he  became  in 
1817.  His  "Declaration  of  Independence,”  after  Trumbull,  brought  him  into 
prominent  notice  as  an  engraver.  President  of  the  National  Academy  of  Design, 

1845  to  1861 . 

EDGE  OF  THE  FOREST. 


Painted  1871. 


78x64. 


26 


PAINTINGS. 


27. 

INNESS,  GEORGE. 

Born  at  Newburg,  N.  Y.,  1825;  died,  1894.  Pupil  of  Regis  Gignoux,  1868. 
Studied  in  Italy,  1 87 : -’75.  Elected  A.  N.  A.,  1853,  and  N.  A.,  1868. 

SUNSET  IN  THE  WOODS. 

Painted  1891.  48x72. 

[Mr.  Inness,  under  date  of  July  23,  1891,  writes  the  following  note  about  the 
painting: 

“  The  material  for  my  picture  was  taken  from  a  sketch  made  near  Hastings, 
Westchester  Co.,  New  York,  twenty  years  ago.  This  picture  was  commenced 
seven  years  ago,  but  until  last  winter  I  had  not  obtained  any  idea  commensurate 
with  the  impression  received  on  the  spot.  The  idea  is  to  represent  an  effect  of 
light  in  the  woods  toward  sundown,  but  to  allow  the  imagination  to  predominate.”] 


28. 

HART,  JAMES  McDOUGAL. 

Born  at  Kilmarnock,  Scotland,  May  10,  1828.  Taken  to  America  in  1831. 
Pupil  of  his  brother,  William  Hart,  and  in  1851  of  Schirmer,  in  Dusseldorf. 
A.  N.  A.  in  1857.  N.  A.  in  1859. 

THE  DROVE  AT  THE  FORD. 

Painted  1874.  54*38. 


29. 

WHITTREDGE,  WORTHINGTON. 

Born  at  Springfield,  Ohio,  May  22,  1820.  Pupil  of  Andreas  Achenbach  and 
of  Lessing.  Elected  N.  A.,  1861.  President  of  N.  A.,  1874. 

TROUT  BROOK  IN  THE  CATSKILLS. 

Painted  1875.  34x48. 


30. 

LEUTZE,  EMANUEL.  (See  No.  22). 

CROMWELL  AND  MILTON. 


Painted  1854. 


60x84. 


RUINS  OF  THE  PARTHENON. 


PAINTINGS. 


2? 


51- 

GIFFORD,  SANFORD  R. 

Born  at  Greenfield,  Saratoga  Co.,  N.  Y.,  1823;  died  at  New  York,  1880.  Was 
made  an  Academician  in  1857. 

RUINS  OF  THE  PARTHENON. 

Painted  1880.  28x32. 


32. 

TILTON,  JOHN  ROLLIN. 

Born  at  London,  N.  H.,  1828;  died  at  Rome,  Italy,  1888. 

VENETIAN  FISHING  BOATS. 

Painted,  Rome,  18 — .  36x48. 


53- 

weeks,  EDWIN  LORD. 

Born  at  Boston,  1849,  Pupil  of  l’Ecole  des  Beaux  Arts  and  of  Bonnat  and 
Gerome.  Chevalier  Legion  of  Honor,  1896. 

DEPARTURE  FOR  THE  HUNT— INDIA. 

Painted  1884.  38x52. 


34- 

mount,  WILLIAM  SIDNEY. 

Born  on  Long  Island,  1806;  died,  1868.  Began  the  practice  of  his  profession 
in  New  York,  1829.  Elected  member  of  the  N.  A.  D.,  1832.  He  was  the  son 
of  a  farmer  on  Long  Island,  and  was  in  early  life  a  sign-painter.  He  had  a  studio 
on  wheels  with  a  plate  glass  front,  in  which,  drawn  by  a  pair  of  horses,  he  could 
select  any  point  of  view  he  wished,  and  thus  protected  from  the  weather  leisurely 
make  his  careful  studies. 


THE  LONG  STORY. 


Painted  1837. 


1 7x22. 


28 


PAINTINGS. 


NO.  34. 


THE  LONG  STORY. 


W.  S.  MOUNT. 


WEYL,  MAX. 

Born  at  Miihlem,  Wiirtemburgh,  Germany,  1840.  Came  to  America,  1855. 
Exhibited  in  National  Academy  of  Design,  New  York,  and  at  the  Prize  Fund 
Exhibition  at  the  American  Art  Galleries  in  1883.  Awarded  first  prize  at  the  Ex¬ 
hibition  of  the  Society  of  Washington  Artists  in  1891. 

APPROACHING  NIGHT. 

Painted  1891.  18x24. 


36. 

ROSSITER,  THOMAS  P. 

Born  at  New  Haven,  Conn.,  1818;  died  at  Cold  Spring,  New  York,  1871. 
Medal,  Paris,  1855.  Elected  A.  N.  A.,  1840;  N.  A.,  1849. 

REBECCA  AT  THE  WELL. 

Painted  1852. 


39x32. 


PAINTINGS. 


24 

37- 

RANNEY,  WILLIAM. 

Born  at  Middletown,  Conn.,  May  9,  1813;  died  at  West  Hoboken,  N.  J., 
November  18,  1857. 


Painted  1850. 


DUCK  SHOOTING. 


30x40. 


38. 

DAVIS,  CHARLES  H. 

Born  at  Amesbury,  Mass.,  1858.  Studied  at  Boston  and  Paris,  and  was 
awarded  the  prize  of  $2,000  at  the  Third  Prize  Fund  Exhibition  at  the  American 
Art  Galleries  in  New  York  in  1887. 

THE  DEEPENING  SHADOWS. 

Painted  1884.  30x45 . 


39- 

BONHAM,  HORACE. 

Born  at  West  Manchester,  Penn.,  in  1835;  died,  1892.  Pupil  of  Bonnat. 

THE  ISSUE  OF  THE  COCKPIT. 

16x27. 


40. 

McENTEE,  JERVIS. 

Born  at  Rondout,  N.  Y.,  in  1828;  died,  1890.  Studied  with  Church  and 
Thomas  Cole,  and  was  made  an  Academician  in  1861. 

EASTERN  SKY  AT  SUNSET. 


24x20. 


30 


PAINTINGS. 


4<- 

MOELLER,  LOUIS. 

Born  at  New  York.  Studied  with  Duveneck  and  the  German  Professor  Dietz. 
The  first  recipient  of  the  Hallgarten  prize.  He  was  made  an  Academician  in  1895. 

DISAGREEMENT. 

24x34. 


42. 

REINHART,  CHARLES  STANLEY. 

Born  at  Pittsburgh,  Penn.,  in  1844.  Studied  in  Paris  and  at  the  Royal  Academy, 
Munich,  under  Professors  Streyhirber  and  Otto. 

WASHED  ASHORE. 

Painted  1887.  78x108. 

Gift  of  the  heirs  of  the  Artist. 


43- 

minor,  ROBERT  C. 

Born  at  New  York,  1840.  Pupil  of  Diaz.  He  is  a  National  Academician,  and 
a  member  of  the  American  Water  Color  Society. 

EVENTIDE. 


22x30. 


44- 

ranger,  HENRY  W. 

Born  at  New  York.  Began  his  career  in  Syracuse.  Member  of  the  American 
Water  Color  Society. 


THE  TOP  OF  THE  HILL. 


28x36. 


PAINTINGS. 


3' 


45- 

ROBINSON,  THEODORE. 

Born  at  Irasburg,  Vermont,  in  1852;  died  in  New  York  in  1896.  Pupil  of  M. 
Carolus-Duran  and  of  Gerome.  Awarded  the  Webb  Prize  in  1892;  also  the 
Shaw  Prize  in  1892. 

VALLEY  OF  THE  SEINE  FROM  GIVERNY  HEIGHTS. 

26x32. 


46. 

.  B1ERSTADT,  ALBERT. 

Born  at  Dusseldorf,  1830;  died  in  New  York,  Feb.  18,  1902.  Brought  to 
America  at  an  early  age.  Returned  to  Dusseldorf  in  1853  and  entered  the  Aca¬ 
demy,  afterwards  studying  in  Rome  and  Germany.  Elected  a  member  of  the 
National  Academy  in  i860  ;  Chevalier  of  the  Legion  of  Honor,  France,  1867. 
Medals:  Austria,  Germany,  Bavaria,  and  Belgium,  and  various  Orders. 

MOUNT  CORCORAN. 

(Southern  Sierra,  Nevada.) 

Painted  1875.  6096. 

The  peak  rises  14,094  feet,  and  was  named  in  compliment  to  Mr.  Corcoran. 


47- 

CAS1LEAR,  JOHN  W. 

Born  at  New  York,  1811;  died  at  Saratoga  Springs,  N.  Y.,  1893.  Studied  in 
Europe  in  1840  and  in  1857.  Elected  an  A.  N.  A.  in  1835  and  N.  A.  in  1851. 

LAKE  GEORGE. 


25  X  45- 

Gift  of  Miss  Josephine  E.  Harrison. 


32 


PAINTINGS. 


48. 

MESSER,  EDMUND  CLARENCE. 

Born  at  Skowhegan,  Maine,  in  1842.  Studied  at  National  Academy  of  Design, 
New  York,  and  at  Pennsylvania  Academy  of  Fine  Arts,  and  with  Collin,  Courtois 
and  Aime  Morot  in  Paris. 

SUNSET  IN  LOUDOUN. 

Painted  1899.  48x34. 


49. 

ULRICH,  CHARLES  F. 

Born  at  New  York,  1858.  Studied  in  Munich  under  Professor  Loftz  and  Linden- 
schmidt.  Secured  the  Thomas  B.  Clarke  Prize  in  1884,  and  the  American  Art 
Gallery  prize  in  1886.  Was  elected  an  Associate  of  the  National  Academy  in  1883. 

IN  THE  LAND  OF  PROMISE.  (CASTLE  GARDEN.) 

Painted  1884.  29x36. 


5°. 

DEWEY,  CHARLES  MELVILLE. 

Born  at  Lowville,  N.  Y.,  in  1851.  Made  his  first  exhibit  at  the  National 
Academy  of  Design,  New  York,  in  1875. 

EDGE  OF  THE  FOREST. 

Painted  1888.  32x48. 


5  1  • 

WYLIE,  ROBERT. 

Born  iir  the  Isle  of  Man;  died  at  Pont  Aven,  Brittany,  1877.  Was  taken  to 
America  when  a  child,  and  began  Ins  art  studies  as  a  pupil  of  the  Pennsylvania 
Academy  of  Fine  Arts.  He  was  sent  by  them  to  France  to  study.  Worked 
under  Gerome.  Medal  of  Second  Class  at  the  Paris  Salon  of  1872. 

A  FORTUNE  TELLER  OF  BRITTANY. 


94x47. 


NO.  53.  the  road^to  concarneau. 


PAINTINGS. 


33 


52. 

MURPHY,  J.  FRANCIS. 

Born  at  Oswego,  N.  Y.,  in  1853.  Secured  the  second  Hallgarten  prize  in 
1887.  Elected  Academician  in  1887. 

OCTOBER. 

Painted  1 888— ’93.  32X50. 


53- 

PICKNELL,  WILLIAM  LAMB. 

Born  in  Vermont,  1852;  died  at  Marblehead,  Mass.,  August,  8,  1897.  Went  to 
Europe  in  1874,  studying  with  George  Innessin  Rome  two  years;  later,  for  a  few 
months,  under  Gerome  in  Paris.  From  France  he  went  to  England,  and  for  a 
number  of  years  was  an  exhibitor  at  the  Royal  Academy.  He  has  lived  and 
painted  in  Brittany,  working  under  Robert  Wylie  until  the  time  of  that  artist’s 
death. 


THE  ROAD  TO  CONCARNEAU. 


Painted  1880. 


40x80. 


54- 

HUNTINGTON,  DANIEL. 

Born  at  New  York,  1816.  Educated  at  Hamilton  College.  Pupil  of  Professor 
S.  F.  B.  Morse,  and  of  G.  P.  Ferrero,  Rome.  Exhibited  first  in  1836  at  the 
National  Academy  of  Design,  New  York.  Elected  an  Associate  in  1838.  Acad¬ 
emician  in  1840.  President  National  Academy  of  Design  from  1862  to  1869, 
and  from  1877  to  1891. 


MERCY’S  DREAM. 

Painted  1850.  89x69. 

[The  scene  which  this  picture  illustrates  is  from  Bunyan’s  Pilgrim’s  Progress, 
and  is  as  follows:  “A  sweet  dream  it  was.”  *  *  *  “  Methought  1  looked 

up  and  saw  one  coming  with  wings  towards  me.  So  he  came  to  me  directly 
and  said,  Mercy,  what  aileth  thee?  He  also  wiped  my  eyes  with  his  handker¬ 
chief,  and  clad  me  in  silver  and  gold.  He  put  a  chain  about  my  neck,  and  ear¬ 
rings  in  my  ears,  and  a  beautiful  crown  upon  my  head.”] 


PAINTINGS. 


55- 

JONES,  H.  BOLTON. 

Born  at  Baltimore,  Md.,  1848.  Studied  at  Paris,  1 876— ’8o.  N.  A.,  1883. 
Bronze  Medal,  Exposition  Universelle,  Paris,  1889. 


SPRINGTIME. 


36x64. 


56. 

HENRY,  EDWARD  L. 

Born  at  Charleston,  S.  C.,  January  12,  1841.  A  pupil  of  the  Pennsylvania 
Academy  of  Fine  Arts.  Studied  in  Paris  with  Courbet. 


THE  OLD  WESTOVER  MANSION. 


Gift  of  a  friend. 


11x13. 


57- 

BROWN,  JOHN  G.  (See  No.  16.) 

THE  LONGSHOREMAN’S  NOON. 

Painted  1879.  33x50. 


58. 

VOLK,  DOUGLAS. 

Born  at  Pittsfield,  Mass.,  1850.  Studied  in  Paris  at  the  Ecole  des  BeauxjArts 
under  J.  L.  Geronre.  Member  of  the  Society  of  American  Artists. 


ACCUSED  OE  WITCHCRAFT. 


40x50. 


PAINTINGS. 


35 


59- 

TRYON,  DWIGHT  W. 

Born  at  Hartford,  Conn.,  in  1849.  Studied  with  Daubigny  and  Harpignies. 
Received  prizes  at  the  National  Academy  of  Design,  the  Society  of  American 
Artists,  the  Columbian  Exposition  in  Chicago,  and  other  exhibitions.  Member 
ot  the  National  Academy  and  the  Society  of  American  Artists. 

THE  END  OF  DAY. 


3 1 X46. 


60. 

COUDER,  EMILE  GUSTAVE. 

Born  at  Paris.  Pupil  of  M.  Vasselon.  Salon  Exhibitor  up  to  1893. 


FLOWER  PIECE  (WITH  CAT). 

Bought  at  Paris  Exposition  of  1873. 

45x58. 


6 1 . 

NICOL,  ERSK1NE. 

Born  at  Leith,  Scotland,  July,  1825.  Elected  A.  R.  A.,  1866.  Medal,  Second 
Class,  Paris,  1867. 

PADDY’S  MARK. 

Painted  1868.  24x32. 


62. 

CH1ERIC1,  GAETANO. 

Born  at  Reggio,  Italy,  1838.  Professor  at  Academy,  Rome  and  Florence. 
Medals  :  Rome,  Lisbon,  and  Florence. 

THE  MASK  (or  “FUN  AND  FRIGHT.’’) 

Painted  1874. 


30x42. 


36 


PAINTINGS. 


NO.  6l. 


paddy’s  mark. 


E.  NICOL. 


DETAILLE,  JEAN  BAPTISTE  EDOUARD. 

Born  at  Paris,  1848.  Favorite  pupil  of  Metssonier.  President  of  the  Society  of 
French  Artists,  1895.  Medals:  Paris,  1869,  1870,  1872;  Medal  of  Honor,  1888; 
Legion  of  Honor,  1873;  Officer,  1881;  Commander,  1897;  Grand  Medal  of 
Honor,  1897;  Grand  Cordon  of  the  Order  of  St.  Stanislas  of  Russia,  1897;  Mili¬ 
tary  Medal  of  England  (Queen’s  Jubilee),  1897. 


THE  PASSING  REGIMENT. 

Painted  1875.  30x50. 

[This  picture  first  appeared  in  the  Paris  Exposition  of  1875,  and  was  afterwards 
exhibited  in  Brussels,  when  it  was  purchased  for  this  Gallery.  Loaned  for  Ex¬ 
hibition  at  the  Exhibition  Universelle,  Paris,  1889,  by  request  of  the  artist.] 


PAINTINGS. 


37 


64. 

JAPY,  LOUIS  AIME. 

Born  at  Berne.  Medals:  1870,  1873. 

SPRING  LANDSCAPE. 

Painted  1873.  39x03. 


65. 

KAEMMERER,  FREDERICK  HENDRIK. 

Born  at  Client;  died  at  Palis,  April  14,  1902.  Pupil  of  Gerome.  Medals: 
Third  Class,  Paris,  1874.  Chevalier  of  the  Legion  of  Honor. 

BEACH  AT  SCHEVEN1NGEN,  HOLLAND. 

Painted  1874.  27x54. 


66. 

COMTE,  PIERRE  CHARLES. 

Born  at  Lyons,  1823.  Pupil  of  Paul  Delaroche,  H.  Vernet  and  Robert  Fleury. 
Medals:  Third  Class,  1852;  Second  Class,  1853,  1853  and  1857.  Legion  of 
Honor,  1857. 

SCENE  AT  FONTAINEBLEAU— COSTUME  OF  LOUIS  XL 

Painted  1874.  31X21. 


67. 

ISABEY,  EUGENE  LOUIS  GABRIEL. 

Born  at  Paris,  1804;  died  at  Paris,  1886.  Medals:  First  Class,  1824,  1827, 
1855.  Legion  of  Honor,  1832.  Officer,  1832. 

THE  WEDDING  FESTIVAL. 


Painted  1874. 


23x2 1 . 


PAINTINGS. 


68. 

LEROUX,  HECTOR. 

Born  at  Verdun,  France,  1829.  Pupil  of  Picot,  and  of  the  Ecole  des  Beaux 
Arts.  Won  the  Second  Grand  Prix  de  Rome  in  1857.  Medals:  Paris,  1863, 
1864,  1874;  of  Vienna,  1873;  of  Amsterdam,  1883;  Legion  of  Honor,  1877; 
Officer  of  the  Academy,  France,  1S89. 


THE  VESTAL  TUCCIA. 

Painted  1874.  54X98. 

This  picture  carried  off  a  second-class  gold  medal  at  the  Paris  Exposition  of  1874. 


NO.  69. 


THE  DRINKING  PLACE. 


C.  TROYON. 


69. 

TROYON,  CONSTANT. 

Born  at  Sevres,  1810;  died  in  Paris,  1865.  Pupil  of  Riocreaux  and  Poupart. 
Medals:  Third  Class,  1838;  Second  Class,  1840;  First  Class,  1846,  1848,  1855; 
Legion  of  Honor,  1849.  Member  of  the  Amsterdam  Academy.  Diploma  to  the 
Memory  of  Deceased  Artists.  Exposition  Universelle,  1878. 

THE  DRINKING  PLACE. 

27x35. 


NO.  84. 


LOST  DOGS. 


O.  VON  THOREN. 


PAINTINGS. 


39 


70. 

CHIALIVA,  LUIGI. 

Born  at  Caslano,  Switzerland,  1842.  Studied  first  in  Milan  and  afterwards  in 
Paris  and  Berlin.  Decorated  by  the  King  of  Italy  in  1885. 


FINE  WEATHER. 

Painted  1880. 


20x31. 


7>- 

CHIALIVA,  LUIGI.  (See  No.  70.) 

A  SHOWER. 

Painted  1880. 


20X3 1 . 


72. 

JAPY,  LOUIS  AIME.  (See  No.  64.) 


Painted  1873. 


TWILIGHT. 


39x63. 


73- 

HENNER,  JEAN  JACQUES. 

Born  at  Bernwiller,  1829.  Pupil  of  Drolling  and  of  Picot.  Prize  of  Rome, 
1858.  Medals:  1863,  1865,  1866;  Legion  of  Honor,  1873;  Officer  of  the  Legion 
ofHonor,  1878;  Medal,  Exposition  Universelle,  1878;  Member  of  the  Institute, 
1889. 


JOAN  OF  ARC,  IN  INFANCY. 

22x18. 


40 


PAINTINGS. 


74- 

VIBERT,  JEAN  GEORGES. 

Born  at  Paris,  1840;  died  in  Paris,  July  28,  1902.  Pupil  of  Picot  and  Barrias. 
Medals:  1864,  1867,  1868;  Third  Class,  1878;  Legion  of  Honor,  1870. 

THE  SCHISM. 

Painted  1874.  .  15X21. 


75- 

BURN1ER,  RICHARD. 

Born  at  The  Hague  1826;  died  in  Dusseldorf,  1884.  Member  of  the  Amster¬ 
dam  Academy. 

CATTLE  ON  THE  SEA-SHORE  NEAR  SCHEVENINGEN. 

Painted  1881.  42x64. 

Awarded  a  gold  medal  at  the  Brussels  Exposition  of  1881. 


76. 

SAINT-JEAN,  SIMON. 

Born  at  Lyons,  1 808 ;  died  at  Ecully,  i860.  Medals:  1834,  1841,  1855; 
Legion  of  Honor,  1843. 

FRUIT. 

Painted  1855.  19x26. 


77- 

LOUSTAUNAU,  LOUIS  AUGUSTE  GEORGE. 
Born  at  Paris,  1846.  Pupil  of  Vibert  and  Gerome. 


MONK  FISHING. 


Painted  1874. 


36x28. 


NO.  79, 


CHARLOTTE  CORD  AY  IN  PRISON 


C.  L.  MULLER. 


PAINTINGS. 


41 


REBOUET,  ALBOY. 


78. 

NIGHT. 


Painted  1867. 

In  the  Vienna  Exposition  of  1873. 


84x^2 


79- 

MULLER,  CHARLES  LOUIS. 

Born  at  Paris,  1815.  Medals:  1838,  1846,  1848,  1853.  Legion  of  Honor, 
4849;  Officer,  1859.  Pupil  of  Cogniet,  Gros,  and  of  the  Ecole  des  Beaux  Arts. 


CHARLOTTE  CORDAY  IN  PRISON. 


Painted  1875. 


41X33- 


VELY,  ANTOLE. 


80. 


Born  at  Ronsoy,  1838;  died  at  Paris,  1882. 


Medals:  1874,  1880. 


THE  TALKING  WELL. 

Painted  1873. 


71x38. 


8l. 

HEILBUTH,  FERDINAND. 

Born  at  Hamburg;  died  at  Paris,  1889.  Medals:  1857,  18^9,  1861.  Member 
of  the  Legion  of  Honor,  1861;  Officer,  1881;  Chevalier  Order  of  Leopold,  Belgium. 

ON  THE  PINCIAN  HILL,  ROME. 

(Cardinal  Questioning  Acolytes.) 


33X55- 


42 


PAINTINGS. 


82. 

MOROT,  AIME  NICHOLAS. 

Born  at  Nancy,  1850.  Pupil  of  Cabanel  and  Ecole  des  Beaux  Arts.  Prix  de 
Rome,  1873.  Medals:  1876,  1877,  1879;  Medal  of  Honor,  1883;  Grand  Prix, 
1889;  Officer  of  the  Legion  of  Honor. 

EL  BRAVO  TORO. 


Painted  1884. 


59x32. 


VAN  MARCKE,  EMILE. 

Born  at  Sevres,  1827;  died,  1891.  Pupil  of  Troyon.  Medals:  1867,  1869, 
1870,  1878;  Chevalier  of  the  Legion  of  Honor,  1872. 

LANDSCAPE  WITH  CATTLE. 


24x30. 


84. 

VON  THOREN,  OTTO. 

Born  at  Vienna,  1829.  Member  of  the  Vienna  and  St.  Petersburg  Academies. 
Medals:  Paris,  1865;  Munich,  1869;  Vienna,  1882;  Order  of  Francis  Joseph; 
Russian  Order  of  Vladimir. 

LOST  DOGS. 


Painted,  1873. 


57><47- 


85. 

DAUBIGNY,  CHARLES  FRANCOIS. 

Born  at  Paris,  1817;  died  there,  1878.  Son  and  pupil  of  the  distinguished  min¬ 
iature  painter  of  the  French  Restoration,  Edme  Franpois  Daubigny,  1789-1843. 
Studied  under  Paul  Delaroche.  Medals:  1848,  1853,  1855,  1857,  1859,  •867. 
Legion  of  Honor,  1839.  Officer  of  the  Legion  of  Honor,  1874.  Diploma  to  the 
Memory  of  Deceased  Artists.  Exposition  Universelle,  1878. 


A  HAMLET  ON  THE  SEINE,  NEAR  VERNON. 

Painted  1872.  34X58. 


NO  83-  LANDSCAPE  WITH  CATTLE. 


PAINTINGS. 


4} 


86. 

SAINT-PIERRE,  GASTON  CASIMIR. 

Born  at  Nimes,  1833.  Pupil  of  Jalabert  and  Cogniet.  Medals:  1808,  1879. 
Chevalier  of  the  Legion  of  Honor,  1881. 

NEDJMA— ODALISQUE. 

Painted  1874.  43x60. 


87. 

COURBET,  GUSTAVE. 

Born  at  Ornans  (Doubs),  1819;  died  at  Tour  de  Pei! ,  near  Vevay,  1878. 
Studied  chiefly  with  David  d’Angers.  He  exhibited  in  1844,  though  it  was  not 
until  1849  that  he  first  attracted  attention.  As  chief  instigator  of  the  overthrow 
of  the  Vendome  Column,  May  16,  1871,  he  was  sentenced  to  six  months  impris¬ 
onment  and  to  bear  the  cost  of  restoration.  After  his  release  he  retired  to  Switzer¬ 
land. 

LANDSCAPE. 


19x25. 


DUPRE,  JULES. 


Born  at  Nantes,  1812;  died  at  Paris,  1889.  Medals:  Second  Class,  1833  and 
1867.  Legion  of  Honor,  1849;  Officer,  1870. 


THE  POND  OF  THE  GREAT  OAK. 

37x30. 


MORETTI,  ANTONIO. 


89. 


THE  FORUM,  FROM  THE  TABULARIUM,  ROME. 

21x64. 


Painted  1853. 


44 


PAINTINGS. 


90. 

KNAUS,  LUDWIG. 

Born  at  Wiesbaden,  1829.  Pupil  of  Dusseldorf  Academy  under  Sohn  and 
Schadow  in  1846-52,  then  studied  in  Paris  until  i860.  Professor  at  the  Berlin 
Academy  from  187410  1884.  Medals:  Paris,  Second  Class,  1853;  First  Class, 
1855,  1857,  1859;  Legion  of  Honor,  1859;  Officer,  1867;  Grand  Medal  of  Honor, 
1867;  Knight  of  Prussian  Order  of  Merit,  etc.,  and  many  medals. 


THE  FORESTER  AT  HOME. 

Painted  1886. 


40x56 


9  1  • 

FAED,  JOHN. 

Born  at  Burley  Mill,  Kirkcudbrightshire,  Scotland,  1820.  Member  R.  S.  A., 
1851. 


SHAKESPEARE  AND  HIS  CONTEMPORARIES. 

53x68. 


■  92. 

COROT,  JEAN  BAPTISTE  CAMILLE. 

Born  at  Paris,  1796:  died  there,  1875.  Pupil  of  Michallon  and  Victor  Bertin. 
Medals:  Second  Class,  1833;  First  Class,  1848  and  1855;  Second  Class,  1867. 
Legion  of  Honor,  1846;  Officer,  1S67;  Diploma  to  the  memory  of  Deceased 
Artists,  Exposition  Universelle,  1878 

WOOD  GATHERERS. 

Painted  187s.  44x63. 


MORF.TTI,  ANTONIO. 


93- 


ST.  PETER’S,  ROME. 


Painted  1853. 


2 1 X  64 . 


NO.  92.'  WOOD  GATHERERS. 


PAINTINGS. 


45 


94- 

SCHREYER,  ADOLPHE. 

Born  at  Frankfort-on-the-Main,  1828;  died,  1899.  Member  of  Antwerp  and 
Rotterdam  Academies.  Medals:  Brussels,  1863;  Paris,  1864,  1865,  1867;  Munich, 
1876;  Order  of  Leopold,  1866;  Honorary  Member  of  the  Deutsches  Nochstift; 
Court  Painter  to  Grand  Duke  of  Mecklenburg,  1862;  Officer  of  the  Star  of 
Roumania,  1888. 

THE  WATERING  PLACE. 

41x68. 


95- 

PAUWELS,  FERDINAND. 

Born  at  Eckeren,  near  Antwerp,  1830.  Pupil  of  the  Antwerp  Academy, 
i842-’50,  under  Dujardin,  then  of  Wappers;  won  the  Grand  Prix  de  Rome  in 
1852.  Gold  Medals:  1857,  1864,  1868.  Order  of  Leopold,  1861. 

JUSTICE  TO  LEVIN  PYN. 

Painted  1862.  45 x 7 ! . 

[Levin  Pyn,  First  Magistrate  of  Ghent  (1541),  was  wrongly  accused  by  his  am¬ 
bitious  colleagues,  and  beheaded  by  order  of  Charles  V.  Afterwards,  the  emperor, 
convinced  of  his  innocence,  ordered  solemn  mass,  and  a  proclamation  to  be  read 
by  the  priest  declaring  Pyn’s  innocence,  in  the  presence  of  his  mourning  family 
and  four  of  his  accusers.] 


96. 

DIAZ  DE  LA  PENA,  NARCISSE  V1RG1LE. 

Born  at  Bordeaux,  of  Spanish  parents,  1808;  died  at  Mentone,  1876.  Medals: 
Third  Class,  1844;  Second  Class,  1846;  First  Class,  1848.  Legion  of  Honor,  1851. 


THE  APPROACHING  STORM. 


Painted  1870. 


33x42. 


46 


PAINTINGS. 


97- 

CAZ1N,  JEAN  CHARLES. 

Born  at  Samer  (Pas-de-Calais);  died  near  Nice,  March  27,  1901.  Medals:  First 
Class,  1880;  Legion  of  Honor,  1882. 

MOONLIGHT  IN  HOLLAND. 

25x32. 


98. 

ZIEM,  FELIX. 

Born  at  Beaune  (Cote-d’-Or),  1821.  Pupil  of  Art  School  of  Dijon.  Medals: 
Third  Class,  1851,  1855;  First  Class,  1852.  Legion  of  Honor,  1857.  Officer, 
1878. 

CONSTANTINOPLE,  FROM  THE  GOLDEN  HORN. 

Painted  1874.  32x50. 


99. 

BRETON,  EMILE  ADELARD. 

Born  at  Courrieres.  Brother  and  pupil  of  Jules  Breton.  Medals:  1866,  1867, 

1 868 ,  1878.  Chevalier  of  the  Legion  of  Honor,  1878.  Member  of  the  Order  of 
Leopold. 

SNOW  SCENE— MOONRISE. 

Painted  1873.  22x34. 


IOO. 

RICO,  MARTIN. 

Born  at  Madrid,  Spain.  Pupil  of  Federico  de  Madrazo.  Studied  in  Paris  and 
Rome.  Prix  de  Rome,  1862.  Medals:  Paris,  Third  Class,  1878;  Second  Class, 
1889;  Exposition  Universelle;  Legion  of  Honor,  1878. 


THE  BANKS  OF  THE  ADIGE. 


18x3 1 . 


THE  BANKS  OF  THE  ADIGE. 


PAINTINGS. 


47 


IOI. 

BRETON,  JULES  ADOLPHE. 

Born  at  Courrieres  (Pas-de-Calais),  1827.  Pupil  of  Drolling  and  Devigne; 
Medals:  Third  Class,  1855;  Second  Class,  1857;  First  Class,  1859,  1861,  1867. 
Medal  of  Honor,  1872;  Legion  of  Honor,  1861;  Officer,  1867. 


BRITTANY  WIDOW. 


Painted  1886.  36x31. 

[Represents  a  sailor’s  widow,  who  carries  to  the  altar  of  St.  Ann,  the  virgin 
patroness  of  Brittany  sailors,  a  taper  to  the  memory  of  her  husband.] 


102. 


BECKER,  CARL  LUDWIG  FREDERICK. 

Born,  1820.  Professor  and  Senator  of  the  Royal  Academy  of  Berlin.  President, 
1888. 


POPE  JULIUS  II,  WITH  RAPHAEL,  M.  ANGELO,  VITTORIA 
COLONNA,  AND  BRAMANTE,  VIEWING  THE 
NEWLY  EXHUMED  STATUE  OF  THE 
APPOLLO  BELVEDERE. 


Painted  1887. 


55x77- 


103. 

FRERE,  PIERRE  EDOUARD. 

Born  at  Paris,  1819;  died,  1886.  Pupil  of  Paul  Delaroche  and  of  Ecole  des 
Beaux  Arts.  Medals:  Third  Class,  1850  and  in  1855;  Second  Class,  1852;  Legion 
of  Honor,  1855. 


PREPARING  FOR  CHURCH. 


Painted  1853. 


18x22. 


48 


PAINTINGS. 


IO4. 

MACCARI,  CESARE. 

Born,  Sienna,  1840.  Gold  Medals:  Sienna  and  Parma,  1869;  Gieat  Piize, 
Turin,  1880;  Order  of  the  Italian  Crown. 


THE  FORTUNE-TELLER. 

12x16. 


105. 

PREYER,  JOHANN  WILHELM. 

Born  at  Rheydt,  near  DQsseldorf,  1805;  died,  1889.  Pupil  of  Diisseldorf 
Academy,  1822-27. 


FRUIT. 


Painted  1842. 


20x21 . 


106. 

BAIL,  J.  A. 

SUNDAY  MORNING  IN  AUVERGNE. 

Painted  1874.  35X46. 


107. 

FREY,  J.  J. 

Born,  Switzerland;  died  at  Frascati,  near  Rome,  1865. 


ROME. 


Painted  1859. 

Gift  of  Louis  C.  Gamier,  St.  Louis,  Mo. 


38x53. 


NO-  9°-  THE  FORESTER  AT  HOME. 


PAINTINGS. 


49 


FREY,  j.  j.  (See  No.  107.) 


108. 


TIVOLI. 


Painted  1859.  38x53. 

Gift  of  Louis  C.  Gamier,  St.  Louis,  Mo. 


109. 

MORLAND,  GEORGE. 

’  Born  at  London,  1763;  died  there,  1804.  Morland  exhibited  altogether  at  the 
Royal  Academy  between  1779  and  1804,  thirty-six  pictures.  Painted  chiefly 
country  scenes  with  domestic  animals,  and  enjoyed  a  high  reputation. 

THE  FARM  HOUSE. 

35x44- 


I  IO. 

DE  MARNE,  JEAN  LOUIS. 

Born  at  Brussels,  1754;  died  at  Paris,  1829.  Called  Demarnette.  Medals: 
i8o6-’9.  Legion  of  Honor,  1828. 

INTERIOR. 

8x  10. 


III. 

DE  MARNE,  JEAN  LOUIS.  (See  No.  110.) 


INTERIOR. 


8x  10 


50 


PAINTINGS. 


I  I  2. 

COUTURE,  THOMAS. 

Born  at  Senlis  (Oise),  1815;  died  at  V illiers  le  Bel  (Seine  et  Oise),  1879.  Pupil 
of  Gros  and  Paul  Delaroche.  Won  the  Grand  Prix  in  1837.  Medals:  1844,  1847, 
1855.  Legion  of  Honor,  1848. 


FEMALE  HEAD. 


18x21 . 


BJOREK,  OSCAR. 


I  13. 

THE  NAILMAKERS. 


52x58. 


Gift  to  the  Gallery  by  a  number  of  its  friends,  May  1,  1896. 


1  14. 

HILDEBRANDT,  EDUARD. 

Born  at  Dantzic,  1817;  died  at  Berlin,  1868.  Professor  Berlin  Academy,  1853. 


M00NR1SE  IN  MADEIRA. 

Painted  1856. 


36x48. 


1  I  5. 

DE  BRAEKELEER,  FERDINAND. 

Born  at  Antwerp,  1792;  died  there  1883.  Pupil  of  Antwerp  Academy.  Ob¬ 
tained  the  Great  Prize  in  1819.  Order  of  Leopold.  Director  of  Antwerp  Museum. 

THE  HAPPY  FAMILY. 


Painted  1853. 


33x28. 


THE  HELPING  HAND,  B-  REMOVE. 


PAINTINGS. 


I  l6. 

DE  BRAEKELEER,  FERDINAND.  (See  No.  115.) 

THE  UNHAPPY  FAMILY. 

Painted  1853.  33X2S. 


”7- 

RENOUF,  EMILE. 

Born  at  Paris,  June  23,  1845;  died,  1894.  Pupil  of  Boulanger,  Jules  Lefebvie, 
and  of  Carolus  Duran.  Medals:  Second  Class,  1880;  Gold  Medal  and  Legion  of 
Honor,  1889. 

THE  HELPING  HAND. 


Painted  1 88 1 .  60x89. 

Loaned  for  exhibition  in  the  Exposition  Universelle,  Paris,  1889,  by  request  of 
the  artist. 


I  l8. 

AIVASOVSKY,  J. 

THE  RELIEF  SHIP. 

[Arrival  in  Riga  of  the  American  vessel  bearing  supplies  to  sufferers  by  the 
famine  in  Russia,  1892.] 

18x26. 

Gift  ofj.  A'ivasovsky. 


I  19. 

AIVASOVSKY,  J. 

DISTRIBUTING  SUPPLIES. 

[Illustrating  the  mode  of  distributing  supplies  sent  by  Americans  to  suffeiers  by 
the  famine  in  Russia,  1892.] 

18x26. 

Gift  of  J.  A'ivasovsky. 


PAINTINGS. 


52 

120. 

COLLETTE,  A. 

THE  YOUNG  SAVOYARD  MUSICIAN. 

Painted  1873.  36x24. 


BRENNER,  CARL  C. 


121. 


Born  at  Lautrechen,  Bavaria,  1838;  died,  Louisville,  Ky.,  1888. 


AFTERNOON  IN  EARLY  JUNE. 

Painted  1880.  26x46. 


122. 


GOTTHOLD,  FLORENCE. 

Born  at  Uhrichsville,  Ohio,  1858. 


THE  DIFFICULT  TASK. 

Painted  1886.  27X21. 

Gift  of  Simon  Wolt. 


123. 

MAYER,  FRANK  BLACKWELL. 

Born  at  Baltimore,  1827;  died,  July  28,  1899.  Pupil  of  Gleyre  and  Briou,  Paris. 
Medal  and  Diploma,  Philadelphia,  1876.  Medal  of  Maryland  Institute. 


LEISURE  AND  LABOR. 


Painted  1853. 


13x23. 


PAINTINGS. 


53 


ARTIST  UNKNOWN. 


124. 


VIRGIN  AND  CHILD. 


23X 19. 


125. 

ELLIOTT,  CHARLES  LORING.  (See  No.  1.) 

HEAD  OF  A  ROMAN  GIRL  (Unfinished.) 

Painted  1868.  22x18. 


1 26. 

VENNEMAN,  CHARLES  FERDINAND. 

Born  at  Ghent,  1803;  died,  1875.  Pupil  of  De  Braekeleer  and  of  the  Ghent 
Academy.  Medal:  Antwerp,  1845. 

THE  VILLAGE  DOCTOR. 

Painted  1850.  18x24. 


127. 

PERETTI,  B.  Rome. 

AUTUMNAL  CORN  AND  GRAPES. 

Painted  1875.  21x17. 


128. 

WEBER,  PAUL. 

Born  at  Darmstadt,  1823.  Pupil  of  Lucas,  and  in  Frankfort  of  the  Stadel 
Institute.  Studied  in  Antwerp  under  Deichmann. 

SCENE  IN  THE  CATSKILLS. 


Painted  1858. 


21X17. 


54 


PAINTINGS. 


I29. 

COUDER,  EMILE  GUSTAVE.  (See  No.  60.) 

FLOWER  PIECE. 

Painted  1872.  14X  17. 


130. 

BAKER,  GEORGE  A. 

Born  at  New  York,  1821;  died  there,  1880.  Pupil  National  Academy.  Elected 
N.  A.,  1851. 


IDEAL  HEAD. 

Painted  1865. 


2  7X22, 


'31- 

brown,  w. 

Born  in  England. 


RETURN  FROM  MARKET. 

2^x31. 


JEANNIN,  GEORGE  C. 


132. 


Born  in  Paris.  Medal:  Third  Class,  1878. 


VASE  OF  FLOWERS. 


Painted  1873. 


33x24. 


PAINTINGS. 


b5 


1 33- 

SULLY,  THOMAS. 

Born  at  Horncastle,  Lincolnshire,  England,  1783;  died  at  Philadelphia,  1S72. 
Studied  under  Benjamin  West,  and  for  a  short  time  under  Gilbert  Stuart,  at 
Boston.  Exhibited  at  the  Royal  Academy,  1820-1840. 


IDEAL  FEMALE  HEAD. 

30x25. 


>34- 

■  ODD1E,  W.  M. 

SCENE  NEAR  LENOX,  MASS. 

Painted  1850.  36X49. 


>35- 

ROBBE,  LOUIS. 

Born  at  Courtray,  Belgium,  1806.  Medals:  Brussels  1 839— ’42 ;  Paris,  Third 
Class,  1844;  Second  Class,  1855.  Legion  of  Honor,  1845.  Order  of  Leopold, 
1843.  Officer,  1863. 

LANDSCAPE  AND  CATTLE. 

33x48. 


136. 

EASTMAN,  SETH. 

Born  at  Brunswick,  Maine,  1808;  died,  1875.  (Col.  U.  S.  A.) 

BALL  PLAYING  AMONG  THE  SIOUX  INDIANS. 


Painted  1857. 


28x40. 


PAINTINGS. 


56 


'37- 

DETAILLH,  JEAN  BAPTISTE  EDOUARD.  (See  No.  63.) 


FRENCH  CUIRASSIERS  BRINGING  IN  BAVARIAN 
PRISONERS  (Water  Color). 

Painted  1875.  17x22. 


138. 

MENGS,  ANTON  RAPHAEL. 

Born  at  Aussig,  Bohemia,  1728;  died  at  Rome,  1779.  Pupil  of  Ismael  Mengs, 
Court  Painter  to  the  King  of  Poland,  Augustus  111.  Cardinal  Albain  and  Pope 
Clement  XIV  employed  him  to  paint  for  them  at  Rome.  Charles  III  of  Spain 
called  him  to  Madrid  in  1761  as  Court  Painter. 

ADORATION  OF  THE  SHEPHERDS. 

104x60. 

From  the  Collection  of  Joseph  Bonaparte. 


139. 

SCHAFFER,  AUGUST. 

Born  at  Vienna,  1833.  Pupil  of  Vienna  Academy.  Medals:  Strasburg,  1859; 
Nassau. 


SUNSET  IN  HUNGARIAN  FOREST. 


Gift  of  Edward  Lind  Morse. 


42x61. 


140. 

FULLER,  GEORGE. 

Born  at  Deerfield,  Mass.,  1822;  died  at  Boston,  1884.  Studied  in  Boston, 
New  York,  London,  and  on  the  Continent  of  Europe.  A.  N.  A.,  1857. 


Painted  1882. 


LORETTE. 


50x30. 


PAINTINGS. 


57 


141. 

GIGNOUX,  REGIS. 

Born  at  Lyons,  1816;  died,  1882.  Member  N.  A.,  1831. 


Painted  1840. 


LANDSCAPE. 


34x3°- 


142. 

.  NEUBERT,  LOUIS. 

Born  at  Leipsic,  1846.  Pupil  of  the  Weimer  Art  School  under  Max  Schmidt 
and  Kalckreuth. 


AN  OLD  CASTLE  IN  BAVARIA. 


Gift  of  Ralph  C.  Johnson. 


31X53- 


143. 

LACHENW1TZ,  F. 

Pupil  of  Diisseldorf  Academy. 

DOG  AND  PARROTS. 

Painted  1847.  38x32. 


STANLEY,  j.  M. 


144. 

THE  DISPUTED  SHOT. 


36x29. 


145. 

CRANCH,  CHRISTOPHER  PEASE. 

Born  at  Alexandria,  Va.,  1813;  died  at  Cambridge,  Mass.,  1892.  Elected 

N.  A.,  1864. 

CASTLE  GONDOLFO,  LAKE  ALBANO. 

Painted  1852. 


36x54. 


PAINTINGS. 


58 


146. 

SALMSON,  HUGO  FREDERICK. 

Born  at  Stockholm,  1S43;  died  at  Lund,  Sweden.  1894.  Medal:  Paris,  1879. 
Legion  of  Honor,  1879.  Member  of  the  Stockholm  Academy,  1871. 

THE  FETE  OF  ST.  JOHN  IN  DALECARL1A,  SWEDEN. 

Painted  1874.  46x90. 


147. 

PORTAELS,  JEAN  FRANCIS. 

Born  at  Vilvord,  near  Brussels,  1818.  Pupil  of  Paul  Delaroche.  Won  the 
Grand  Prix  de  Rome,  1841.  Order  of  Leopold.  Medals:  Paris,  1855. 

THE  DROUGHT  IN  EGYPT. 

Painted  1848.  87x108. 

[This  picture  took  the  special  gold  medal,  awarded  at  the  Exhibition  of  the 
Crystal  Palace,  Sydenham,  for  the  best  picture,  without  regard  to  school,  style, 
or  subject,  by  a  living  artist.] 


DESGOFFE,  BLAISE  ALEXANDER. 

Born  at  Paris,  1 8 30 ;  died,  1886.  Pupil  of  Flandrin  and  Bouguereau.  Medals: 
1861-1863.  Legion  of  Honor,  1878. 

SOUVENIRS  OF  THE  SIXTEENTH  AND  SEVENTEENTH 

CENTURIES. 

Painted  1874.  40x36. 


1 49* 

ACHENBACH,  OSWALD. 

Born  at  Dirsseldorf,  1827.  Brother  and  pupil  of  Andreas  Achenbach.  Medals: 
Paris,  1859,  1861,  1863.  Chevalier  of  the  Legion  of  Honor,  1863. 

FESTIVAL  OF  SANTA  LUCIA,  NAPLES. 


Painted  1886. 


60x81 . 


PAINTINGS. 


59 


150. 


1  s  1. 

SCHEFFER,  ARY. 

Born  at  Dordrecht,  1797;  died  at  Argenteine,  1858.  Pupil  of  Guerin.  Officer 
of  the  Legion  of  Honor,  1825.  Produced  his  greatest  works  between  1835  and 

1848. 


COUNT  EBERHARD  OF  WURTEMBERG  (THE  WEEPER). 

65x76. 

[The  subject  of  this  picture  is  as  follows:  Ulrich,  son  of  Count  Eberhard,  had 
lost  the  battle  of  Reutlingen,  and  was  dangerously  wounded.  Many  of  the 
nobility  were  slain.  On  his  recovery  he  leisurely  sought  his  father,  at  Stuttgart, 
and  found  him  over  his  solitary  meal.  He  was  coldly  received.  Not  a  word 
was  spoken.  With  downcast  eyes  he  placed  himself  opposite  his  father.  Fish 
and  wine  were  served  to  him.  The  old  count  seized  a  knife,  and  cut  the  table¬ 
cloth  between  them.  Frenzied  by  this  insult,  Ulrich  rushed  into  the  middle  of 
the  next  fight,  gains  the  battle  of  Doffingen,  and  was  slain.— Ballad  of  Uhland. 

“  And  while  we  were  celebrating  the  victory  in  our  camp,  what  was  the  old 
Count  doing  ?  Alone  in  his  tent,  weeping  over  the  dead  body  of  his  only  son.  ” — 
Ballad  of  Schiller.] 


I  52. 

BRETON,  EMILE  ADELARD.  (See  No.  99.) 


SUNSET. 


Painted  1869. 


43x60. 


6o 


PAINTINGS. 


1 53- 

PRIOU,  LOUIS. 

Born  at  Toulouse,  1845.  Medals:  Paris,  1 S69— ’74. 


A  FAMILY  OF  SATYRS. 

Painted  1874. 


78x86. 


This  picture  took  the  Gold  Medal  of  the  First  Class  at  the  Paris  Exposition,  1874. 


1 54- 

VAIL,  EUGENE  L. 

Born  at  St.  Servan,  France,  of  American  parents,  1856.  First  Class  Medal, 
Exposition  Universelle,  1889.  Gold  Medal,  Salon  Paris.  Grand  Diploma,  Berlin, 
1891.  First  Class  Medal,  Antwerp,  1894.  Decoration  Cross  of  Legion  of  Honor 
1894. 


READY  ABOUT. 

Painted  1888. 


84X 124. 


1 55- 

DUMARESCL,  ARMAND  CHARLES  EDOUARD. 

Born  at  Paris,  1826.  Pupil  of  Thomas  Couture.  Medal:  Third  Class,  1861, 
1863.  Order  of  St.  Maurice,  1839.  Legion  of  Honor,  1867.  Officer,  1881. 


THE  GENEVA  CONFERENCE. 


30x81 . 

Gift  of  Herbert  Dumaresq,  of  Boston. 


NO-  *54-  READY  ABOUT, 


PAINTINGS. 


61 


LE  ROUX,  L.  EUGENE. 


156. 


Born  at  Paris,  1833.  Medals:  1864,  1873,  1875.  Legion  of  Honor,  1871. 


ALEXANDER  II  OF  RUSSIA,  RECEIVING  THE  RESOLU¬ 
TIONS  OF  CONGRATULATION  ON  HIS  ESCAPE 
FROM  ASSASSINATION,  PASSED  BY 
CONGRESS,  AUGUST,  1866. 

45x58. 

Gift  of  Mrs.  G.  V.  Fox. 


*57- 

GEROME,  JEAN  LEON. 

Born  at  Vesoul,  France,  1824.  Pupil  of  Paul  Delaroche  and  1’Ecole  des  Beaux 
Arts.  Medals:  Paris,  1847,  1 848,  1855.  Member  of  the  Institute,  1865.  Medal 
of  Honor  (Exposition  Universelle),  1867.  One  of  the  Eight  Grand  Medals  of 
Honor  (Exposition  Universelle),  1878.  Chevalier  of  the  Legion  of  Honor,  1855. 
Officer,  1867.  Commander,  1878.  Chevalier  of  the  Order  of  the  Red  Eagle. 
Member  of  the  Royal  Academy,  London.  Professor  at  1’Ecole  des  Beaux  Arts, 
Paris. 


C/ESAR  DEAD. 


86  a  25. 


158. 


TA1T,  ARTHUR  F1TZWILLIAM. 

Born  at  Livesey  Hall,  near  Liverpool,  1819.  Pupil  of  Royal  Institute,  Man¬ 
chester.  Came  to  New  York  in  1850.  Elected  N.  A.,  1858. 

QUAIL  AND  YOUNG. 


Painted  1856. 


10X13- 


02 


PAINTINGS. 


159- 

HAYS,  WILLIAM  JACOB. 

Born  at  New  York,  August,  1830;  died  at  New  York,  1875. 


HEAD  OF  A  BULL-DOG. 

Painted  1856. 


12x13. 


JOHNSON,  EASTMAN. 


160. 


Born  at  Lovell,  Maine,  1824.  Elected  N.  A.,  i860. 


GIRLS  AND  PETS. 

Painted  1836. 


23x29. 


1 6 1 . 

INNESS,  GEORGE.  (See  No.  27.) 

LANDSCAPE. 


19x26. 


162. 

KENSEIT,  JOHN  FREDERICK.  (See  No.  19.) 

SKETCH  OF  MOUNT  WASHINGTON. 

Painted  1851.  1 1x20. 


163. 

BOUQUET,  MICHAEL. 

Born  at  L’Orient  (Morbiham),  1807.  Pupil  of  Gaudin.  Medals:  1839,  1847, 
1848.  Legion  of  Honor,  1881. 


LANDSCAPE. 


16x34. 


PAINTINGS. 


63 


164. 

HALL,  GEORGE  HENRY. 

Born  in  Boston,  1825.  Studied  in  Diisseldorf  in  1849,  and  painted  in  Paris, 
1 850— ’5 2.  Member  of  the  National  Academy  of  Design,  New  York. 


THE  DREAM. 

Painted  1884.  35  ^  39- 

Gift  of  the  Artist. 


165. 

JEFFERSON,  JOSEPH. 

A  distinguished  comedian.  Born  at  Philadelphia,  1829.  Mr.  Jefferson  has 
devoted  much  of  his  leisure  to  the  study  of  landscape  painting. 


FOREST  AND  STREAM. 

Painted  1894.  20x30. 

Gift  of  the  Artist. 


166. 

CROPSEY,  JASPER  FRANCIS. 

Born  at  Rossville,  N.  Y.,  1823.  Pupil  of  Edward  Maury.  Elected  N.  A.  in 
1851. 

WASHINGTON’S  HEADQUARTERS  ON  THE  HUDSON. 

22x37. 


167. 

CHURCH,  FREDERICK  EDWIN.  (See  No.  24.) 


SCENERY  ON  THE  MAGDALENA  RIVER,  GRANADA, 
SOUTH  AMERICA. 


Painted  1854. 


26x36. 


64 


PAINTINGS. 


l68. 

HELMICK,  HOWARD. 

Born  .it  Zanesville,  Ohio,  1845.  Pupil  of  l’Ecole  des  Beaux  Arts,  Paris,  and  ot 
Cabanel.  Member  of  the  Royal  Society  of  British  Artists. 

THE  EMIGRANT’S  LETTER. 

Painted  1868.  20x16. 


169. 

SIEBERT,  EDWARD  S. 

Born  at  Washington,  D.  C.,  1S56.  Studied  under  Professor  Albert  Baur  and 
Karl  Gusserv,  in  Weimar  Academy. 

THE  FLUTE  PLAYER. 

Painted  1900.  30X26. 

Gift  of  Mrs.  E.  F.  Andrews. 


170. 

PEALE,  JAMES. 

Born  at  Annapolis,  Md.,  1749;  died  at  Philadelphia  in  1831'.  He  was  the 
youngest  brother  of  Charles  Wilson  Peale,  from  whom  he  received  instruction  in 
painting.  He  devoted  himself  almost  exclusively  to  painting  miniatures,  in 
which  field  he  became  highly  distinguished. 

MINIATURE  OF  MRS.  GENERAL  JOHN  P.  VAN  NESS 

(nee  Marcia  Burns). 

Painted  1797.  Miniature. 

Gift  of  Mrs.  Phillip  Hinkle,  of  Cincinnati. 


171. 

SARTA1N,  WILLIAM. 

Born  at  Philadelphia,  Pa.,  184"!.  Pupil  of  Pennsylvania  Academy  of  Fine  Arts, 
l’Ecole  des  Beaux  Arts,  Paris,  and  of  Bonnat.  One  of  the  founders  of  the  Society 
of  American  Artists.  Associate  National  Academy  of  Design.  Instructor  Art 
Students’  League,  New  York.  Silver  Medal,  Boston.  Honorable  Mention, 
Pennsylvania  Academy  of  Fine  Arts. 

STREET  IN  DINAN,  BRITTANY. 

19x13. 

Gift  of  John  Elderkin,  of  New  York. 


VIEW  OF  MCTURE  GALLERY. 


PAINTINGS. 


65 


I72. 

LOIR,  LUIGI. 

Born  at  Goritz,  Austria.  Pupil  of  Parma  Academy  and  of  Pastolet.  Medal : 
3d  Class,  1879. 


EFFECT  OF  SNOW. 


23x43. 


•73- 

DETAILLE,  JEAN  BAPTISTE  EDOUARD.  (See  No.  63.) 

GENERAL  OF  THE  FIRST  EMPIRE. 

Painted  1892.  32x26. 


*74- 

ZIEM,  FELIX.  (See  No.  98.) 

STREET  IN  CAIRO. 


26X 14 . 


175. 

CAZIN,  JEAN  CHARLES.  (See  No.  97.) 

LANDSCAPE. 


18x22. 


MENPES,  MORTIMER. 

A  VENETIAN  BALCONY. 


\oy2Y%y2. 


66 


PAINTINGS. 


MENPES,  MORTIMER. 


*77- 

THE  VISTA. 


3y4- 


I78. 

RICHARDS,  WILLIAM  TROST.  (See  No.  12.) 


ON  THE  COAST  OF  NEW  ENGLAND. 


Painted  1894. 


27x47. 


179. 

CHIALIVA,  LUIGI.  (See  No.  70.) 

THE  OLD  SHEPHERD. 


26x4 1 . 


180. 

RICHARDS,  WILLIAM  TROST.  (See  No.  12.) 

BALDART  CASTLE,  KILKEE,  COUNTY  CLARE, 
IRELAND  (Water  Color). 


I 


1 8 1 . 

BONHEUR,  (MARIE)  ROSA. 

Born  at  Bordeaux,  France,  1822;  died,  Paris,  May  25,  1899.  Animal  painter. 
Began  copying  in  the  Louvre,  afterwards  made  sketches  and  studies  near  Paris. 
She  was  the  founder  and  director  of  the  Paris  Free  School  of  Design  for  Young 
Girls.  Elected  member  of  the  Antwerp  Institute  in  1868.  Medals:  3d  Class, 
184s;  ist  Class,  1848,  1855;  2d  Class,  1867;  Legion  of  Honor,  1863;  Leopold 
Cross,  1880;  Commander’s  Cross  of  Royal  Order  of  Isabella  the  Catholic,  1880. 

BULL. 


1  sx  1 834. 


PAINTINGS. 


67 


182. 

VAN  MARCKE,  EMILE.  (See  No.  83.) 

COWS  IN  MEADOW. 


33x23. 

Note. — The  ten  paintings  from  No.  173  to  No.  183  were  a  gift  to  the  Gallery 
from  the  heirs  of  the  estate  of  the  late  George  E.  Lemon,  of  Washington,  D.  C.) 


183. 

GERICAULT,  JEAN  LOUIS  ANDRE  THEODORE. 

Born  at  Rouen,  Sept.  26,  1791;  died  in  Paris,  jan.  18,  1824.  Historical  and 
animal  painter.  Pupil  of  Carle  Vernet  and  of  Guerin.  Also  studied  in  Rome  and 
Florence. 

STUDY  OF  A  TORSO. 


Gift  of  Julius  Oehme,  of  New  York. 


20X 15. 


184. 

WYANT,  ALEXANDER  H. 

Born  in  Port  Washington,  Ohio,  January  1  1,  1836;  died,  1892.  Studied  under 
Hans  Gude  in  Carlsruhe;  student  of  the  works  of  Turner  and  Constable  in  London. 
Elected  A.  N.  A.  in  1868;  N.  A.,  1869. 

LANDSCAPE. 


36x60. 


185. 

BARNEY,  ALICE  CLIFFORD. 

Of  Washington,  D.  C.  Born  in  Cincinnati,  Ohio.  Pupil  of  Carolus  Duran. 


BERTHA  (Pastel). 


Gift  of  the  Artist. 


24x20. 


68 


PAINTINGS. 


1 86. 

CHASE,  WILLIAM  MERRITT. 

Born  at  Franklin,  Ind. ,  1840.  Pupil  of  B.  F.  Hayes  in  Indianapolis,  J.  O.  Eaton 
in  New  York,  A.  Wagner  and  Piloty  in  Munich.  Awards:  Medal,  Philadelphia, 
1876;  Honorable  Mention,  Paris,  1881;  Honors,  Munich,  18S3;  Silver  Medal, 
Paris  Salon,  1889;  First  Prize,  Cleveland  Art  Association,  1894;  Shaw  Prize, 
S.  A.  A.,  1895;  Gold  Medal  of  Honor,  P.  A.  F.  A.,  1895;  Gold  Medal,  Paris 
Exposition,  1900;  Member  N.  A.,  1890;  S.  A.  A.,  1879;  A.  W.  C.  S.;  Munich/ 
Secession;  N.  A.  C. 

THE  MODEL  (Pastel). 

19x16. 

Gift  of  Ralph  C.  Johnson,  of  Washington,  D.  C. 


187. 

BRUSH,  GEORGE  DE  FOREST. 

Born,  Shel by ville,  Tenn. ,  1835.  Pupil  of  the  National  Academy  of  Design,  New 
York;  also  studied  under  M.  Gerome  at  the  Ecole  des  Beaux-Arts.  Member  So¬ 
ciety  of  American  Artists  and  an  Associate  of  the  National  Academy  of  Design. 

MOTHER.  AND  CHILD. 


Painted  1902. 


38x30. 


188. 

DE  WENTWORTH,  CECILE. 

A  TAPER  TO  SAINT  GENEVIEVE. 

78x48. 


Note. — From  number  188  to  200  left  blank  for  future  additions. 


NO.  187. 


MOTHER  AND  CHILD. 


GEORGE  DE  FOREST  BRUSH. 


NO.  267. 


EDWARD  G.  MALBONE. 


MALBONE. 


PORTRAITS. 

200. 

HEALY,  GEORGE  PETER  ANDERSON. 

Born  at  Boston,  1808;  died  at  Chicago,  Ill.,  1895.  Studied  in  Paris  1836; 
went  to  Chicago  about  i8s8  and  painted  portraits;  revisited  Europe  in  1869,  and 
resided  long  in  Rome.  Exhibited  at  Paris  Salon  and  National  Academy,  New 
York,  of  which  he  was  an  Honorary  Member.  Medals:  Paris,  Third  Class,  1840; 
Second  Class,  1853. 

PRESIDENT  GEORGE  WASHINGTON  (After  Stuart). 

30x25. 


70 


PORTRAITS. 


HEALY,  G.  P.  A. 


201. 


MARTHA  WASHINGTON  (After  Stuart). 


30x25. 


202. 

HEALY,  G.  P.  A. 

PRESIDENT  JOHN  ADAMS  (After  Stuart). 

30x25. 


HEALY,  G.  P.  A. 


203. 


PRESIDENT  THOMAS  JEFFERSON  (After  Stuart). 


30x25. 


204. 


HEALY,  G.  P.  A. 

PRESIDENT  JAMES  MADISON  (After  C. 


Harding). 


50x25. 


HEALY,  G.  P.  A. 


205. 


PRESIDENT  JAMES  MONROE  (A  Copy). 


30x25. 


PORTRAITS. 


7» 


HEALY,  G.  P.  A. 


206. 


PRESIDENT  JOHN  CL  ADAMS. 

30x25. 


207. 

HEALY,  G.  P.  A. 

PRESIDENT  ANDREW  JACKSON. 

Painted  1845.  30x25. 

Painted  at  the  Hermitage  a  short  time  before  the  deatli  of  President  Jackson. 


208. 

HEALY,  G.  P.  A. 

PRESIDENT  MARTIN  VAN  BUREN. 

Painted  1857.  30x25. 


209. 

ANDREWS,  ELIPHALET  F. 

Born  at  Steubenville,  Ohio,  1835.  Pupil  of  Diisseldorf  Academy  and  of  Knaus 
and  Bonnat.  Elected  Instructor  of  Drawing  in  Corcoran  School  of  Art,  1887. 


PRESIDENT  WILLIAM  H.  HARRISON. 


Painted  1879. 


30x25. 


(From  a  portrait  by  J.  H.  Beard,  1840.) 


72 


PORTRAITS. 


HEALY,  G.  P.  A. 


2  10. 


PRESIDENT  JOHN  TYLER. 


Painted  1842. 


30x2  c,. 


21  I. 

HEALY,  G.  P.  A. 

PRESIDENT  JAMES  K.  POLK. 

Painted  1846.  30X25. 


HEALY,  G.  P.  A. 


212. 


PRESIDENT  ZACHARY  TAYLOR  (After  Amans). 


30x25. 


HEALY,  G.  P.  A. 


213. 


PRESIDENT  MILLARD  FILLMORE. 


30x25. 


HEALY,  G.  P.  A. 


214- 


PRESIDENT  FRANKLIN  PIERCE. 


30x25. 


PORTRAITS. 


73 


215. 

HEALY,  G.  P.  A. 

PRESIDENT  JAMES  BUCHANAN. 

Painted  1859.  30x25. 


2l6. 

HEALY,  G.  P.  A. 

PRESIDENT  ABRAHAM  LINCOLN. 

Painted  i860.  30x25. 


217. 

ANDREWS,  E.  F.  (See  No.  209.) 

PRESIDENT  ANDREW  JOHNSON. 

30x25. 


218. 

ULKE,  HENRY. 

Born  at  Frankenstein  (Prussian  Silesia),  1821.  Pupil  of  Professor  Wach  (Court 
Painter  at  Berlin). 

PRESIDENT  ULYSSES  S.  GRANT. 

Painted  1882.  30x25. 


2  19. 

ANDREWS,  E.  F.  (See  No.  209). 

PRESIDENT  RUTHERFORD  B.  HAYES. 


Painted  1881. 


30x25. 


74 


PORTRAITS. 


220. 

MATHEWS,  WILLIAM  T. 

Born  at  Bristol,  England,  1821.  Came  to  the  United  States  in  1833.  Student 
National  Academy  of  Design,  New  York. 

PRESIDENT  JAMES  A.  GAREIELD. 

30x25. 


22 1 . 

HEALY,  G.  P.  A. 

PRESIDENT  CHESTER  A.  ARTHUR. 

Painted  1884.  30x25. 


222 

UHL,  S.  JEROME. 

Born  at  Millersburgh,  Ohio,  1841.  Studied  under  Carolus  Duran,  P.  de 
Chavannes  and  M.  Raphael  Collin. 

PRESIDENT  GROVER  CLEVELAND. 

Painted  1891.  30x25. 


223. 

MATHEWS,  WILLIAM  T.  (See  No.  220.) 

PRESIDENT  BENJAMIN  HARRISON. 


Painted  1899. 


30x25. 


PORTRAITS. 


224. 

MATHEWS,  WILLIAM  T.  (See  No.  220.) 

PRESIDENT  WILLIAM  McKINLEY. 

Painted  1900.  30X25. 


77 


225. 

SULLY,  THOMAS.  (See No.  133.) 

ANDREW  JACKSON  (Full  Length.) 
Painted  1825.  95x60. 


226. 

INMAN,  HENRY  (Attributed  to). 

HENRY  CLAY. 

20x2 1 . 


227. 

GUTHERZ,  CARL. 

Born  at  Schoeftland,  Switzerland,  1844.  Came  to  the  United  States  in  1851. 
Studied  in  the  Academie  des  Beaux  Arts,  Paris,  and  under  Jules  Lefebvre. 
Awarded  Medal  and  Diploma  International  Exposition,  Philadelphia,  1876. 
Third  Class  Medal,  Paris,  1889.  Member  of  National  Jury,  Chicago  Columbian 
Exposition. 


MISS  SUSAN  B.  ANTHONY. 


24x20. 


Gift  of  Mrs.  John  B.  Henderson. 


76 


PORTRAITS. 


228. 

STUART,  GILBERT. 

Born  at  Narragansett,  Rhode  Island,  1755;  died,  Boston,  1828.  Went  to  Eng¬ 
land  in  1775.  Pupil  and  assistant  to  Benjamin  West,  President  of  the  Royal 
Academy.  In  178s,  he  set  up  a  studio  of  his  own  in  London,  achieving  marked 
popularity.  He  returned  to  America  in  1792.  Among  his  sitters  in  Europe  were 
three  Kings,  Louis  XVI,  George  111,  and  George  IV  while  Prince  of  Wales.  He 
painted  many  distinguished  artists,  and  six  Presidents  of  the  United  States  sat  to 
him  for  their  Portraits,  viz:  Washington,  Adams,  Jefferson,  Madison,  Monroe  and 
John  Quincy  Adams.  He  painted  but  two  portraits  of  Washington  from  life; 
one  he  made  life  size  (the  L.ansdowne  portrait),  the  second  is  in  the  Boston 
Museum  of  Fine  Arts.  From  these  he  painted  many  copies. 

GEORGE  WASHINGTON. 

29x24. 

Stuart  brought  this  portrait  with  him  to  Washington  as  a  specimen  of  his  skill 
when  he  came  to  this  city  to  paint  President  Jefferson  and  his  Cabinet.  It  was 
purchased  from  Stuart  himself  by  Col.  John  Tayloe,  of  Mount  Airy. 

Gift  of  Mrs.  Benjamin  Ogle  Tayloe. 


229. 

STUART,  GILBERT.  (See  No.  228.) 

CHIEF-JUSTICE  EDWARD  SHIPPEN, 


of  Pennsylvania. 


29x24. 


230. 

ELLIOTT,  CHARLES  LORING.  (See  No.  1). 

COLONEL  THOMAS  L.  McKENNEY. 

30x24. 

Bequeathed  to  the  Gallery  by  the  late  James  C.  McGuire. 


231. 

HEALY,  G.  P.  A.  (See  No.  200). 

MRS.  R.  C.  M.  PAGE. 


Painted  1859. 


Gift  of  Dr.  R.  C.  M.  Page. 


167x47. 


NO.  228. 


GEORGE  WASHINGTON. 


GILBERT  STUART. 


PORTRAITS. 


77 


2)2. 

ELLIOTT,  CHARLES  LORING.  (See  No.  i.) 


JAMES  C.  McGUIRE. 

Painted  1854.  WX’=,. 

Bequeathed  to  the  Gallery  by  the  late  James  C.  McGuiie. 


233. 

ELLIOTT,  CHARLES  LORING.  (See  No.  1.) 

WILLIAM  CULLEN  BRYANT. 

Painted  1854.  24x20. 

Bequeathed  to  the  Gallery  by  the  late  James  C.  McGuire. 


234- 

NEAGLE,  JOHN. 

Born  at  Boston,  Mass.,  November  4,  1796;  died  at  Philadelphia,  Penn.,  Sep¬ 
tember  17,  1865.  Received  instruction  from  Gilbert  Stuart. 

COL.  RICHARD  M.  JOHNSON, 

Vice-President  of  the  United  States  from  1837  to  1841. 

30x25. 

Gift  of  Mrs.  Benjamin  Ogle  Tayloe. 


235. 

HUNTINGTON,  DANIEL.  (See  No.  54.) 

JOSEPH  HENRY. 


Painted  1857.  25x18. 

Bequeathed  to  the  Gallery  by  the  late  James  C.  McGuire. 


78 


PORTRAITS. 


236. 

ELLIOTT,  CHARLES  LORING.  (See  No.  1.) 

A.  B.  DURAND. 


Painted  1864. 


27x2  a. 


ELDER,  JOHN  A. 


^37- 


GENERAL  ROBERT  EDWARD  LEE. 

48x40. 


238. 

DUPLESS1S,  JOSEPH  SIFREDE 

Born  at  Carpentras,  Fiance,  1725;  died,  1802.  Keeper  of  the  Museum  of 
Versailles.  Admitted  to  the  Royal  Academy,  1774. 

BENJAMIN  FRANKLIN. 


Painted  1 782.  30x25. 

[On  the  back  of  the  stretcher  is  this  inscription:  “  This  picture  of  Dr.  Franklin 
was  painted  at  Paris,  1782,  and  was  presented  by  him  to  Mr.  William  Hodson,  of 
Coleman  Street,  as  a  token  of  his  regard  and  friendship.”] 


ELDER,  JOHN  A. 


239- 


GENERAL  T.  J.  JACKSON. 


48x40. 


PORTRAITS. 


79 


24O. 

HUBARD,  WILLIAM  j. 

Born  at  Warwick,  England,  1807;  died,  Richmond,  Va.,  1802 


JOHN  C.  CALHOUN. 

Cabinet  size 

241. 

VANDERLYN,  JOHN. 

Born  at  Kingston,  N.  Y.,  177 6;  died  there  1852.  Pupil  of  Gilbert  Stuart. 
Medal:  Paris,  1808. 

PRESIDENT  ZACHARY  TAYLOR. 


Painted  from  life,  1852. 

30x25. 

242. 

RICHARD,  MADAM  EMMA  G. 

BARON  HUMBOLDT. 

38x24. 

245. 

HEALY,  G.  P.  A.  (See  No.  200.) 

JUSTIN  S.  MORRELL,  OF  VERMONT. 

Gift  of  W.  W.  Corcoran. 

244. 

ANDREWS,  E.  F.  (See  No.  209.) 

AMERIGO  VESPUCCI. 

Copied  from  an  original  in  the  possession  of  J.  D.  McGuire. 
Gift  of  the  Artist. 


8o 


PORTRAITS. 


245. 

LE  CLEAR,  THOMAS. 

Born  at  Oswego,  N.  Y.,  1 8 1 8.  Elected  N.  A.,  1863. 

WILLIAM  PAGE. 

Painted  1876.  24x20. 


246. 

PEALE,  REMBRANDT. 

Born  in  Bucks  Co.,  Penn.,  1787;  died  at  Philadelphia,  i860.  Son  of  Chailes 
Wilson  Peale.  Pupil  of  his  father  and  Benjamin  West.  Exhibited  at  Royal 
Academy,  London,  1833. 


M.  LASTEYRIE. 

28x33. 

[This  picture,  according  to  an  inscription  on  the  back,  is  a  portrait  of  a  “dis¬ 
tinguished  French  economist  and  author — the  first  to  establish  a  museum  of 
natural  history,  a  writer  on  cotton  and  merino  sheep,”  and  was  painted  in  Paris 
(no  date),  by  Peale,  for  the  Philadelphia  Museum.] 


247. 

HEALY,  G.  P.  A.  (See  No.  200). 

ROBERT  M.  McLANE. 


Painted  1887. 


60x42. 


Presented  to  Mr.  Corcoran  by  Mr.  McLane. 


248. 

JACKSON,  JOHN. 

Born  at  Lastingham,  Yorkshire,  1778;  died  at  London,  1831.  Elected  A.  R.  A., 
1S15;  R.  A.,  1817;  elected  a  Member  of  the  Academy  of  St.  Luke,  Rome,  1819. 

PORTRAIT. 

30x24. 

Gift  of  S.  H.  Kauffmann. 


PORTRAITS. 


8  I 


249. 

PEIXOTTO,  GEORGE  DA  MADURA. 

Born  at  Cleveland,  Ohio,  1859. 

SIR  MOSES  MONTEFIORE, 

(at  the  age  of  ioo  years.) 

Painted  1 886.  43x35. 


25O. 

PEALE,  REMBRANDT.  (See  No.  246.) 


JACQUES  HENRI  BERNARDIN  DE  SAINT  PIERRE, 

Painted  from  life,  1808.  28x23. 

Gift  of  George  W.  Riggs. 


251. 

KING,  CHARLES  B. 

Born  at  Newport,  R.  I.,  1785;  died  at  Washington,  D.  C.,  1862. 

JOHN  C.  CALHOUN, 

(when  Secretary  of  War.) 

Painted  1822.  30x25. 


COSTAGG1NI,  FILLIPPE. 


252. 


CARDINAL  SATOLLI. 


Painted  1896. 


Gift  of  Cardinal  Satolli. 


50x40. 


82 


PORTRAITS. 


253- 

HEALY,  G.  P.  A.  (See  No.  200.) 

GEORGE  PEABODY. 


Painted  1854. 


30x25. 


2=>4- 

MULL'ER-URY,  A. 

Born  at  Airolo,  Switzerland,  1862.  First  studied  under  Vela,  the  Sculptor,  then 
at  the  Berlin  Academy,  then  three  years  with  Cabanel  at  Paris.  Came  to  America 
in  1886,  and  lived  mostly  in  New  York. 

GENERAL  ULYSSES  S.  GRANT. 


61x41. 

Gift  of  Jefferson  Seligman,  of  New  York. 


2S5- 

WALDO,  SAMUEL. 

Born  in  Connecticut,  1783;  died,  1861. 

G.  W.  PARKE  CUST1S  (of  Arlington,  Va.) 

36x29. 


256. 

SULLY,  THOMAS.  (See  No.  133.) 

CHIEF  JUSTICE  JOHN  MARSHALL. 


35  x  27. 


PORTRAITS. 


83 


257. 

HUNTINGTON,  DANIEL.  (See  No.  54.) 

AMOS  KENDALL. 

30x25. 

(Postmaster-General  from  June,  1835,  to  May,  1840.  Founder  of  the  Deaf- 
Mute  College,  Washington,  D.  C.) 

Gift  of  Mrs.  Jeannie  Kendall  Stickney. 


258. 

KING,  CHARLES  B.  (See  No.  251.) 

HENRY  CLAY. 

Painted  1822.  36x28. 

259. 

HUNTINGTON,  DANIEL.  (See  No.  54.) 

MRS.  AMOS  KENDALL. 

30x25. 

Gift  of  Mrs.  Jeannie  Kendall  Stickney. 


3 

260. 

SULLY,  THOMAS.  (See  No.  133.) 

THOMAS  SULLY. 

30x25. 


261. 

HARDING,  CHESTER. 

Born  at  Conway,  Mass.,  1792;  died  at  Boston,  1866. 

JOHN  RANDOLPH,  OF  ROANOKE. 

Painted  1830. 


30x25. 


84 


PORTRAITS. 


262. 

GUILLAUME,  LOUIS  MATTHIEW  DIDIER. 

Born  at  Nantes,  France,  1819;  died  at  Washington,  1892. 

COMMODORE  M.  F.  MAURY. 

Painted  1882.  (From  a  photograph.) 

263. 

LAZARUS,  JACOB  H.  (See  No.  14.) 


LAFAYETTE  S.  FOSTER. 


Painted  1894. 


Gift  of  Mrs.  Lafayette  S.  Foster. 


264. 

ELLIOTT,  CHARLES  L.  (See  No.  1.) 

HORATIO  STONE. 

Gift  of  Samuel  P.  Avery. 

265. 

SULLY,  THOMAS.  (See  No.  133.) 

JAMES  MADISON. 

Painted  1809. 

Gift  of  Frederick  E.  Church. 


266. 

DURAND,  A.  B.  (See  No.  26.) 

PORTRAIT  OF  A  CHILD. 

Painted  1835. 


36x46. 


30x25. 


24x20. 


27X20. 


55x30. 


Gift  of  Mrs.  E.  J.  Stone. 


PORTRAITS. 


Ss 


267. 

MALBONE,  EDWARD  G. 

Born  at  Newport,  R.  I.,  1777;  died  at  Savannah,  Ga.,  1807.  An  eminent 
miniature  painter,  but  was  little  known  as  a  painter  in  oils. 


EDWARD  G.  MALBONE. 

28x24. 


268. 

HEALY,  G.  P.  A.  (See  No.  200). 

M.  F.  P.  G.  GUIZOT. 

Painted  1841.  94x68. 

This  portrait  of  the  historian  and  the  Prime  Minister  of  Louis  Philippe  was 
painted  in  Paris,  1841,  to  the  order  of  some  American  residents  there  in  compli¬ 
ment  to  the  French  statesmen  for  his  memoir  of  George  Washington.  The 
picture  was  presented  by  them  to  the  National  Institute,  a  scientific  association 
then  existing  in  Washington.  When  that  body  no  longer  existed,  the  painting 
was  sent  to  the  Smithsonian  Institution,  and  thence  transferred  to  the  keeping  of 
The  Corcoran  Gallery  of  Art. 


. 


Plate  I 


THE  PARTHENON. 

A.  Metopes. 

B.  Pediment. 

C.  Frieze. 


KEPH1SS0S. 


CASTS  FROM  ANTIQUE  SCULPTURE. 

THE  PARTHENON. 

Plate  1,  opposite  page. 

The  Parthenon,  a  Doric  temple  of  white  marble,  erected  in  honor  of  Minerva 
(Athene  Polias),  the  tutelar  deity  of  Athens,  was  completed  in  the  year  438  B.  C., 
1 6  years  after  its  commencement.  The  temple  was  built  during  the  administra¬ 
tion-  of  Pericles,  who  employed  Callicrates  and  Ictinus  as  architects  under  the 
direction  of  Phidias,  to  whom  he  entrusted  all  works  of  magnificence,  and  who 
embellished  it  with  statues  and  bas-reliefs.  It  was  227  feet  long,  101  wide, 
and  65  in  height,  with  8  pillars  front  and  back,  and  17  on  each  side;  these 
pillars  were  42  feet  high  and  \”j%  in  circumference,  the  distance  between  them 
being  7  feet  4  inches. 


The  Frieze  of  the  Parthenon. 

Plate  /,  C. 

This  frieze,  in  low  relief,  ran  around  the  top  of  the  inner  faces  of  the  colonnade 
and  outer  wall  of  the  cella  of  the  temple,  yet  within  and  below  the  roof,  and 
39  feet  above  the  pavement. 

As  the  entablature  above  the  outer  columns  descended  4  feet  9  inches  below  the 
lower  edge  of  the  frieze  as  it  was  placed  on  the  wall,  the  frieze  could  only  receive 
its  light  diffused  between  the  columns  and  reflected  upwards  from  the  pavement  of 
the  colonnade.  Owing  to  this  circumstance,  as  well  as  to  the  peculiar  position 


8S 


CASTS  FROM  ANTIQUE  SCULPTURE. 


of  the  spectator  when  looking  at  the  frieze,  standing  within  the  columns,  the  artist 
was  forced  to  keep  his  relief  very  flat,  so  that  it  only  rises  i  ^  inches  from  the 
background,  and  at  the  highest  point  only  2%  inches;  moreover,  it  is  owing  to 
these  circumstances  that  the  relief  was  kept  lowest  in  the  lower  parts  of  the  frieze 
and  highest  in  the  upper  parts,  where  even  sometimes  the  background  is  sunk  to 
gain  a  bolder  relief.  The  frieze  was  over  522  feet  in  length,  running  around  the 
four  sides  of  the  temple. 

Around  the  cornice  of  the  south  end  of  the  atrium  first  story,  or  Statuary  Hall 
of  this  Gallery,  is  placed  194  feet  of  casts  from  the  original  marble  slabs  of  this 
frieze.  The  reliefs  commencing  with  that  nearest  to,  and  south  of,  the  main 
entrance,  presenting  an  unbroken  line  of  young  horsemen  sweeping  along,  with 
here  and  there  a  dismounted  group,  varying  the  action  of  the  cavalcade,  are 
arranged  precisely  as  the  originals  stood  in  the  Parthenon.  Following  these,  and 
extending  to  the  main  staircase  on  the  west,  are  broken  groups  representing  seated 
deities  (see  Nos.  1001  to  1009),  virgins  with  sacrificial  oxen,  and  charioteers. 

1001  ZEUS. 

Frieze  of  the  Parthenon. 

1002  HERA. 

Frieze  of  the  Parthenon. 

1003  IRIS. 

Frieze  of  the  Parthenon. 

1004  ARES. 

Frieze  of  the  Parthenon. 

1005  ARTEMIS. 

Frieze  of  the  Parthenon. 

1006  APOLLO. 

Frieze  of  the  Parthenon. 

1007  HERMES. 

Frieze  of  the  Parthenon. 

1008  ATHENE. 

Frieze  of  the  Parthenon. 

1009  HEPH  AISTOS. 

Frieze  of  the  Parthenon. 


PEDIMENTS  OF  THE  PARTHENON. 


['late  II. 


EASTERN  PEDIMENT. 


go 


CASTS  FROM  ANTIQUE  SCULPTURE. 


The  Western  Pediment. 


Plate  II,  Page  89. 


Tlie  myth  here  represented  is  as  follows: 

Athene  and  Poseidon  both  claim  the  patronage  over  the  land  of  Attica;  their 
claims  are  to  be  decided  by  some  token,  symbol,  or  sign  of  their  power;  and, 
according  to  various  traditions,  the  judges  who  are  to  decide  which  of  these 
tokens  contains  the  weightiest  claim  to  the  patronage,  are  either  the  Olympian 
gods,  or  Kekrops  the  hero-king  of  Athens  with  his  family,  or  the  Attic  people 
themselves. 

There  is  little  doubt  concerning  the  figures  at  the  extreme  angles  of  the  pedi¬ 
ment,  which  are  generally  admitted  to  be,  on  the  left  the  river  god  Kephissos 
No.  7  1  ,  with  a  nymph  not  extant,  and  at  the  tight  angle  the  nymph  (Kallirrhoe) 
No.  7  r.,  with  the  river  Ilissos  No.  6  r.  crouching  beside  her.  The  real  doubt 
exists  with  regard  to  the  remaining  figures  at  either  side.  No.  1  on  the  1.  is 
called  by  Michaelis  and  others,  Kore  holding  the  boy  Iakchos  (No.  2),  who  is 
turning  towards  the  seated  female  figure  Demeter  (No.  3),  while  Nos.  4  and  5 
are  called  in  the  British  Museum,  Pandrosos  and  Kekrops,  and  by  Michaelis, 
Hygieia  and  Asklepios.  The  corresponding  figures  on  the  other  side  are  called 
(No.  1)  Leukothea  with  Palaemon  and  Eros  in  her  arms,  (No.  2)  Aphrodite  in  the 
lap  of  (No.  3)  Thalassa,  No.  4  being  a  Neried.  The  othei»  system  of  interpre¬ 
tation,  first  formed  by  Brunn,  makes  all  the  figures  on  either  side  of  Nike  and 
Amphitrite  partake  of  the  nature  of  the  river  gods  at  either  angle,  considering  them 
personifications  of  Attic  locality.  Of  this  pedimental  group,  fortunately  drawn 
by  Carrey  in  1674,  before  the  destruction  of  the  Parthenon,  only  more  or  less 
fragmentary  remains  of  Athene,  Poseidon,  Hermes,  Amphitrite,  perhaps  Nike, 
and  of  1,  6,  and  7  r.,  and  4,  5,  and  6  1.  are  extant  in  the  British  Museum. 


1010  RIVER  GOD,  KEPHISSOS. 


II.  2  ft.  8  in.  L.  6  ft.  4  in. 


Original  Elgin  Marble,  440  B.  C.  British  Museum. 


This  figure  stood  in  the  north  angle  of  the  western  pediment  of  the 
Parthenon,  and  is  represented  as  raising  himself  on  an  arm  from  a 
recumbent  position,  to  listen  to  the  announcement  of  the  triumph  of 
Minerva  over  Neptune. 

“  This,  one  of  the  most  famous  specimens  of  Greek  sculpture  extant, 
shows  the  combination  of  perfect  modelling  and  grandeur  which  marked 
the  art  of  Phidias,  and  displays  the  care  which  was  bestowed  even  upon 
works  of  mere  decoration.  Note  for  instance  the  remains  of  finish 
even  on  the  back  of  the  statue,  which  could  never  be  seen  in  situ." 


Note. — The  measurements  of  the  casts  give  the  height  of  the  statues  and  busts 
exclusive  of  their  plinths  or  bases. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


91 


The  Eastern  Pediment. 

Plate  II,  page  89. 

The  subject  represented  in  this  pediment  was,  according  to  Pausanias,  the  birth 
of  Athene.  We  cannot  believe  that  the  moment  represented  was  that  of  the  actual 
birth  of  Athene  out  of  the  head  of  Zeus,  an  incident  sometimes  quaintly  rendered 
on  archaic  vases;  nor  can  we  believe  that  it  was  that  immediately  preceding  the 
birth.  It  must  have  been  the  scene  immediately  succeeding  the  birth,  when  Athene 
stands  fully  armed  before  her  father  and  the  admiring  gods,  as  described  in  the 
Homeric  hymn  to  Athene. 

In  Carrey’s  time  the  centre  of  the  pediment  was  no  longer  extant,  and  he  could 
only  give  the  figures  at  the  wings  as  here  rendered  in  Plate  II,  page  89;  but  there 
can  be  little  doubt  that  the  centre  of  the  pediment  was  occupied  by  Zeus  and 
Athene,  with  the  chief  Olympian  gods  and  goddesses  to  their  left  and  right. 

In  this  plate  all  the  extant  figures  from  this  pediment,  now  in  the  British  Mu¬ 
seum,  are  given,  with  the  exception  of  a  nude  male  torso  at  Athens  (Michaelis,  VI, 
H.  Guide  Brit.  Mus.,  Prometheus  or  Hephaistos,  p.  16),  and  the  torso  of  Nike  (?), 
which  has  before  been  ascribed  to  the  western  pediment.  No.  1  1.,  the  draped 
female  figure  rapidly  striding  towards  the  angle,  is  admitted  by  all  to  represent  Iris, 
the  fleet  messenger  of  the  gods,  bringing  the  news  of  the  great  event  from  the 
dwelling  of  the  gods  to  the  figures  seated  in  the  angle.  In  the  case  of  this,  as  in 
that  of  the  western  pediment,  there  are  two  main  groups  of  interpreters  :  those, 
namely,  who  see  in  the  figures  of  the  angles  gods  or  heroes,  and  those  who  con¬ 
sider  them  to  form  subdivisions  of  the  composition  as  a  whole,  clearly  to  be  dis¬ 
tinguished  from  the  central  group,  and  to  be  personifications  of  nature  in  keeping 
with  the  character  of  the  chariot-driving  figures  at  the  extreme  angles,  which  are 
admitted  by  all  to  represent  the  sun  god  and  the  moon  goddess. 

Accordingly  the  seated  figures,  2  and  3  1.,  would  be,  after  Brunn,  the  two  Horae 
who  watch  the  gates  of  Olympus,  the  reclining  nude  male  figure,  4  1.,  would  be 
the  mountain  god  Olympus,  while  the  hitherto  generally  accepted  interpretation 
for  the  two  female  figures,  has  been  Demeter  and  Persephone,  and  for  the  male 
figure,  Theseus,  Dionysos,  or  Herakles.  Nos.  5  and  6  1.  are  universally  admitted 
to  represent  Helios,  the  sun  god,  driving  his  chariot. 

No.  2  r.  represents  Hestia,  the  goddess  of  the  human  hearth,  while  the  female 
figure  4  r.,  reclining  on  the  knees  of  her  seated  companion  3  r.,  is  the  sea,  Thalassa, 
resting  on  the  lap  of  the  earth,  Gaia.  The  current  names  given  to  these  three 
figures  are  the  Three  Fates,  who  were  supposed  to  be  present  at  the  birth,  and 
are  thus  figured  on  the  late  reliefs  in  Madrid  and  Dresden;  5  and  6  r.,  are  ad¬ 
mitted  to  represent  Selene,  the  moon  goddess,  driving  her  chariot. 

In  the  western  pediment,  the  myth  represented  shows  Athene  in  her  local  asso¬ 
ciation  with  Athens;  while  in  the  eastern  pediment,  the  birth  of  Athene  from  the 
head  of  Zeus  has  an  universal  association  with  mankind.  The  one  scene  is  local, 
the  other  cosmical,  as  the  river  gods  with  nymphs  framing  one  scene,  and  the  sun 
and  moon  framing  the  other,  certainly  indicate,  and  as  the  remaining  figures 
probably  do. 


92 


CASTS  FROM  ANTIQUE  SCULPTURE. 


It  must  be  remarked,  that  the  prevailing  difference  of  opinion  in  assigning  defi¬ 
nite  names  to  the  single  figures  of  these  pediments,  is  due  not  only  to  the  fact 
that  we  have  no  passage  in  ancient  authors  mentioning  them,  but  that  the  frag¬ 
mentary  condition  of  the  statues  has  not  even  supplied  us  with  the  symbols  which 
they  held  in  their  hands,  and  which  made  their  meaning  clear  to  every  child  in 
ancient  Athens. 

The  Parthenon  appears  to  have  remained  in  its  original  condition  until  the  5th 
or  6th  century  of  our  era,  when  it  was  converted  into  a  Christian  church,  at  first 
of  St.  Sophia,  then  of  the  Virgin  Mary.  The  alterations  necessitated  by  its  new 
dedication  chiefly  concerned  the  interior  of  the  temple,  and  had  little  effect  upon 
the  sculptured  decorations.  The  entrance  was  transplanted  from  the  east  to  the 
west,  an  apse  was  built  at  the  east  end,  and  two  niches  were  placed  in  the  tym¬ 
panum  of  the  western  pediment.  At  the  beginning  of  the  13th  century  it  was 
converted  from  a  Greek  orthodox  into  a  Roman  Catholic  church,  and  in  1458  it 
was  turned  into  a  Turkish  mosque,  a  minaret  being  added  to  the  west  end  of  the 
south  wall.  On  the  whole,  the  building  and  the  sculptured  decorations  remained 
comparatively  intact  until  the  latter  part  of  the  1  7th  century,  when  all  nationalities 
combined  in  destroying  it.  In  September,  1687,  during  the  war  between  the 
Republic  of  Venice  and  Turkey,  the  Venetian  general,  Francisco  Morosini,  with 
an  army  chiefly  of  mercenary  troops  of  all  nationalities,  under  the  immediate 
command  of  Count  Koenigsmark,  a  Swedish  general,  laid  siege  to  Athens,  and 
bombarded  the  Acropolis,  whither  the  enemy  had  withdrawn.  Upon  hearing 
that  the  Turks  had  stored  powder  in  the  Parthenon,  on  the  26th  of  September, 
1687,  at  seven  o’clock  in  tire  evening,  a  German  lieutenant  succeeded  in  sending 
through  the  roof  of  the  Parthenon  a  shell,  which  ignited  the  powder  and  rent  the 
great  temple  asunder,  heaping  fragments  on  either  side.  In  the  year  1800,  Lord 
Elgin,  then  British  ambassador  to  the  Porte,  having  received  permission,  began  his 
work  of  carrying  off  the  Parthenon  marbles.  After  years  of  the  greatest  vicissi¬ 
tudes,  occasioning  a  vast  expenditure  of  money  on  the  part  of  Lord  Elgin,  the 
sculptures  finally  reached  England  in  1812,  when,  being  forced  to  sell  the  collec¬ 
tion,  he  offered  it  to  the  nation  for  the  sum  he  had  actually  expended.  At  last  it 
was  purchased  for  £1^,000,  a  sum  less  than  half  it  cost  him,  and  now  forms  the 
chief  treasure  of  the  British  Museum. 

The  following  10  casts  are  arranged  as  nearly  as  possible  in  the  position  occu¬ 
pied  by  the  original  marbles  in  the  east  pediment  of  the  Parthenon: 

101 1  HELIOS,  WITH  HIS  HORSES. 

Original  Elgin  Marbles,  440  B.  C.  British  Museum. 

At  the  extreme  angle  of  the  pediment  the  neck,  arm,  and  shoulder 
of  Helios,  the  sun  god,  rise  out  of  the  sea,  and  before  him  the  heads 
and  necks  of  his  horses  are  advancing  towards  the  centre  (but  one  of 
the  three  horses  is  here  represented).  Though  there  are  but  small  por¬ 
tions  of  the  figures  of  horses  and  man,  the  bold  upward  motion  is 
completely  indicated,  and  the  artist  clearly  suggests  that  the  scenery 
presented  in  the  pediment  takes  its  beginning  at  this  side  and  concludes 
at  the  other. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


93 


1012  OLYMPUS,  commonly  called  THESEUS. 

H.  4  ft.  in.  L.  5  ft.  9  in. 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  original  reclined  in  an  angle  of  the  east  pediment,  and  is  uni¬ 
versally  acknowledged,  alike  by  artists  and  by  the  outside  world,  to 
represent  the  highest  stage  of  broad  and  monumental  art  in  the  repre¬ 
sentation  of  the  nude  male  figure. 

1013  TWO  HORAE,  commonly  called  CERES  (or  DEMETER)  and  PROSER¬ 

PINA  (or  PERSEPHONE).  H.  - . 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

Guardians  of  the  gates  leading  to  the  dwellings  of  the  gods.  The 
first  of  these  two  figures,  in  her  more  erect  attitude  and  gesture,  mani¬ 
fests  the  attention  she  is  giving  to  the  news  brought  by  the  messenger 
of  the  gods,  Iris;  the  other  figure,  leaning  on  her  shoulder,  has  not 
yet  completely  realized  the  importance  of  the  scene  enacted  in  the 
centre.  Both  these  figures  manifest  in  a  high  degree  the  characteristics 
of  Pheidiac  art. 

1014  IRIS. 

H.  5  ft.  3  in.  Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  fleet  messenger  of  the  gods,  rapidly  descending  from  their  abode 
to  proclaim  the  birth  of  Athene,  is  here  represented  as  a  youthful 
female  figure,  clad  in  the  Doric  chiton  open  at  the  sides.  A  short 
mantle  is  flapping  back  in  the  wind,  owing  to  her  rapid  motion,  the 
indication  of  which  is  powerfully  expressed  in  the  whole  composition. 

1015  HEST1A.  H. - .  Original  Elgin  Marble.  British  Museum. 

The  common  view  makes  her  one  of  the  Three  Fates  ;  the  left  arm 
of  this  figure  was  probably  raised  behind  the  shoulder  of  Gaia  and  there 
held  a  sceptre;  the  simple  and  solemn  attitude  of  this  figure  would  well 
correspond  with  the  nature  of  Hestia. 

1016  THALASSA  and  GAIA,  commonly  called  TWO  OF  THE  THREE 

FATES. 

H.  4  ft.  11  in.  L.  7  ft.  7  in. 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  original  occupied  a  position  in  the  angle  of  the  eastern  pediment 
opposite  the  Olympus.  “  Here  the  perfection  of  the  modelling  of  the 


94 


CASTS  FROM  ANTIQUE  SCULPTURE. 


texture  of  drapery  and  the  nude  has  been  attained,  and  this  not  at  the 
cost  of  the  general  breadth  of  composition.  As  regards  the  varied 
treatment  of  drapery,  notice  the  folds  of  the  cloth  upon  which  Thalassa 
is  reclining,  with  its  broader  surfaces,  the  more  elaborate  folding  of  the 
upper  garment  round  the  legs,  and  the  varied  play  of  smaller  creases  of 
the  undergarment  as  it  covers  the  breast,  against  the  nude  texture  of 
which  it  is  set  off  in  bold  contrast.” 


1017  HEAD  of  one  of  the  horses  of  SELENE.  H.  2  ft.  6  in. 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  head  projected  over  the  cornice  of  the  eastern  pediment,  double 
holes  behind  the  ears,  on  the  nose,  between  the  eyes  and  mouth,  and 
on  the  inner  corner  of  the  mouth  (not  well  represented  in  the  cast) 
showed  where  the  metal  bridle  had  been  affixed. 

“  This  head  has  ever  been  held  as  the  instance  of  sculpture  in  which 
the  combination  of  actual  truth  to  nature  on  the  one  hand  and  the 
insistence  upon  the  broad,  important,  and  general  features,  with  the 
avoidance  of  purely  individual  and  ephemeral  traits,  upon  the  other, 
has  been  successfully  attained.” 


We  are  indebted  for  much  of  the  foregoing  matter  relating  to  the  Parthenon,  to 
Stuart  and  Revett,  Antiquities  of  Athens;  to  Dr.  William  Liibke,  History  of 
Sculpture;  and  to  the  writings  of  Charles  Waldstein,  Lift.  D.,  Ph.  D.,  L.  H.  D  , 
Director  of  Fitzwilliam  Museum,  Cambridge. 

1017A  EIGHT  SLABS  OF  THE  METOPES  OF  THE  PARTHENON. 

From  the  original  marbles  in  the  British  Museum. 

These  Metopes  were  of  Pentelic  Marble  and  were  decorated  with 
sculpture  in  high  relief.  There  were  92  of  them,  separated  from  one 
another  by  triglyphs,  and  running  around  the  whole  of  the  temple,  14 
on  either  front,  and  32  on  each  side  Each  was  4.41  feet  square,  but 
the  top  contained  a  projecting  seam  of  0.45  feet,  decorated  with  a  bead 
ornament  which  must  be  deducted  from  the  space  left  for  reliefs.  The 
figures  in  the  reliefs  project  from  the  background  about  ten  inches, 
probably  prescribed  by  the  thickness  of  the  slabs. 

Though  there  are  at  present  no  traces  of  color  to  be  found  on  the 
originals,  there  can  hardly  be  any  doubt  that  the  reliefs  were  supported 
by  color. 

The  subjects  of  these  Metopes  are  taken  from  the  contest  between 
the  Centaurs  and  Lapiths  at  the  marriage  feast  of  Peii ithoos. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


95 

1018  THE  DISCOBOLOS  (Quoit-thrower).  H.  5  ft.  ^'/2  in. 

Original  Bronze,  in  the  British  Museum. 

The  original  statue  was  executed  in  bronze  by  Myron  at  the  close  of 
the  first  period  of  Greek  sculpture,  about  470  B.  C.,  and  is  minutely 
described  by  Lucian  and  Quintiilian.  The  discus  was  a  round  flat 
plate  of  metal  or  stone,  about  ten  or  twelve  inches  in  diameter.  There 
are  several  antique  copies  in  marble  of  this  figure,  showing  the  head 
reverted.  The  copy  from  which  this  cast  is  taken  was  found  in  1791, 
near  Hadrian’s  Villa. 

1019  DISCOBOLOS.  H.  5  ft.  5^  in.  Original  Marble,  in  the  Vatican. 

The  original  of  this  cast  is  supposed  to  be  by  Naucydes,  pupil  of 
Polycletus,  who  was  a  pupil  of  Phidias.  The  head  is  supposed  not  to 
have  formed  a  part  of  the  original  figure.  The  fillet  round  the  head 
was  the  badge  of  victory. 

1020  VENUS  OF  MELOS.  H.  6  ft.  Sin.  Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  discovered  in  1820  by  a  peasant,  in  a 
grotto  about  five  hundred  yards  from  the  ancient  theatre  of  the  town 
of  Melos,  in  the  island  of  the  same  name.  From  its  shape  and  charac¬ 
ter,  the  grotto  is  supposed  to  have  been  a  grave  in  which  the  statue 
was  hidden.  It  was  bought  for  the  sum  of  6,000  francs  by  M.  de 
Marcellas  for  the  Marquis  de  Riviere,  then  French  Ambassador  to  the 
Porte.  It  was  carried  to  Paris  in  February,  1821,  and  presented  by 
'v  Riviere  to  Louis  XV II 1 .  It  now  stands  in  the  Louvre,  the  pride  of 
Paris,  and  the  admiration  of  the  world.  Its  sculptor  is  unknown,  but 
by  the  grandeur  of  its  style  it  is  justly  assigned  to  the  era  between 
Phidias  and  Praxiteles,  and  is  considered  the  greatest  statue  of  woman’s 
form  the  world  now  holds.  The  plinth,  the  tip  of  the  nose,  and  a 
small  part  of  the  lips  are  the  only  parts  restored.  Parts  of  an  arm  and 
hand  were  also  found,  but  so  mutilated  that,  though  casts  have  been 
taken  with  them  attached,  the  torso  is  declared  by  the  world  better  as 
it  is — the  fullness  of  what  is  left,  and  its  suggested  action,  being  more 
satisfactory  than  any  guesswork  from  an  uninspired  hand. 

Mr.  Ravaisson,  keeper  of  the  Antiques  of  the  Louvre,  thinks  it  prob¬ 
able  that  the  statue  is  part  of  a  group  of  Venus  and  Mars — “  Love  dis¬ 
arming  War  ” — -and  he  has  made  a  cast,  with  the  arms  attached,  which 
it  is  said  confirms  his  theory.  Then,  again,  it  is  asserted  that  a  small 
bronze  copy  of  it  has  been  discovered  in  Pompeii  representing  her  as 
looking  at  herself  in  a  mirror  held  in  her  left  hand. 

Mr.  Millingen,  a  Dutch  antiquary,  thinks  it  a  Victory  holding  a 
shield  with  both  hands,  and  Mr.  Stillman,  a  recent  critic,  contends  that 
it  is  the  Wingless  Victory  that  once  stood  in  the  Temple  of  Nike- 
Apteros,  Athens,  and  was  sent  to  Melos  at  the  time  of  a  threatened 
invasion. 


96 


CASTS  FROM  ANTIQUE  SCULPTURE. 


The  Venus  of  Capua  in  the  Museo  Bourbonico,  Naples,  is  like  the 
Venus  of  Melos  in  general  form,  but  has  the  head  bent  down  and  the 
left  arm  and  empty  hand  extended  towards  a  Cupid,  who,  with  his 
bow,  stands  before  her.  It  is 
believed  to  be  a  modified  copy 
of  the  latter. 

All  these  theories,  however, 
are  set  at  naught,  and  the  ac¬ 
tion  of  the  Venus  of  Melos 
settled,  if  there  be  truth  in  the 
following  evidence  of  its  con¬ 
dition  when  found,  as  quoted 
by  O’Shea  in  his  “Galleries  of 
the  Louvre.”  The  eminent 
traveler,  Dumont  D’Urville, 
landed  from  the  French  frigate 
soon  after  its  discovery,  and, 
after  an  inspection,  says  in  his 
account  of  it,  published  in  1821: 

“The  statue  was  in  two  parts, 
and  about  six  feet  high,  repre¬ 
senting  a  nude  female  whose 
left  hand  (raised)  held  an 
apple,  and  the  right  one  held 
up  a  tunic  falling  gracefully 
from  the  waist  to  the  feet. 

However,  they  (the  hands) 
were  mutilated  and  separated 
from  the  body.”  An  officer 
of  the  man-of-war,  writing  about 
the  statue,  says:  “When  M. 

D’Urville  and  myself  saw  the 
statue  it  had  the  left  arm  raised 
in  the  air,  and  holding  m  its  venus  of  melos. 

hand  an  apple,  and  the  right 

arm  was  broken  at  its  narrow  part—  a  la  saignee .”  O’Shea  also  states 
that  the  forearm  and  hand  holding  the  apple  are  in  the  store-room 
of  the  Louvre.  This  contemporary  evidence  seems  to  prove  conclu¬ 
sively  that  the  statue  is  a  Venus  Victrix  in  the  contest  for  the  apple 
with  Juno  and  Minerva. 


1021  VENUS  DE  MEDICI.  H.  5  ft.  Original  Marble,  in  Florence. 

Gift  of  J.  C.  McGuire. 

The  original  stands  in  the  Tribunal  of  the  Uffizi,  Florence.  It  was 
found  in  the  15th  century,  and  carried  to  Venice  during  the  reign  of 


CASTS  FROM  ANTIQUE  SCULPTURE. 


97 


Cosmo  di  Medicis — hence  its  name.  When  found  it  was  in  thirteen 
pieces,  and  without  arms.  These  were  supplied,  but  it  is  supposed  by 
many  that  the  position  of  the  original  arms  is  not  given  in  the  substi¬ 
tutes.  It  was  executed  by  Cleomenes  of  Athens  at  a  period  when 
Greek  art  was  rapidly  declining. 


1022  VENUS  OF  THE  CAPITOL.  H.  5  ft.  1 1  in. 

Original  Marble,  in  the  Capitoline  Museum,  Rome. 

Found  in  Rome,  between  Viminal  and  Quirinal  hills,  and  placed  in 
the  Capitoline  Museum  by  Benedict  XIV,  1752. 

1023  SLEEPING  ARIADNE.  H.  5  ft.  3^  in.  L.  6  ft.  11^  in. 

Original  Marble,  in  the  Vatican. 

Date  and  place  of  discovery  unknown.  Its  history  can  be  traced  to 
the  beginning  of  the  sixteenth  century,  when  it  was  in  the  possession 
of  Girolamo  Maffei,  a  prominent  citizen  of  Rome  (Michaelis),  pur¬ 
chased  of  him  by  Julius  II,  between  1509  and  1512,  and  placed  in  the 
Belvedere  of  the  Vatican,  whence  it  was  subsequently  removed  to  the 
Gallery  of  Statues. 

1024  EUTERPE.  H.  4  ft.  6  in.  Original  Marble,  in  the  Louvre. 

•wJ 

Formerly  in  the  Villa  Borghese,  Rome. 

The  head  is  ancient,  but  does  not  belong  to  the  statue.  The  nose, 
mouth,  and  chin  are  modern;  also  the  neck,  the  right  hand,  and  por¬ 
tion  of  the  arm. 

1025  DIANA  DI  GABIL  H.  6  ft.  5  in.  Original  Marble,  in  the  Louvre. 

Found  in  1 792  in  the  neighborhood  of  Gabii,  about  ten  miles  from 
Rome.  At  first  it  belonged  to  the  Borghese  Collection;  since  1808  it 
has  been  in  the  Louvre. 

1026  EROS.  H.  2  ft.  9^  in.  Original  Marble,  in  the  Vatican. 

Found  in  the  second  half  of  the  1 8th  century  by  Gavin  Hamilton,  at 
Centocelle,  in  the  Via  Labicana,  near  Rome,  and  sold  to  Pope  Clement 
XIV,  by  whom  it  was  placed  in  the  Vatican. 

1027  ABUNDANCE,  or  PLENTY. 

H.  6  ft.  11  in.  Original  Marble,  in  the  Vatican. 

It  has  the  cornucopia  in  the  left  hand,  while  the  right  holds  a  rudder 
resting  on  a  globe,  thus  indicating  Commerce  as  a  source  of  Plenty. 


98 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1028  MINERVA.  H.  7  ft.  3  in.  Original  Marble,  in  the  Vatican. 

Found  in  Rome  near  the  Church  of  S.  Maria  Sopra  Minerva,  which, 
as  its  name  implies,  was  built  over  a  temple  of  Minerva.  During  the 
time  of  the  first  Napoleon  it  belonged  to  Lucien  Bonaparte.  He  sold 
it  to  Pius  VII,  who  removed  it  to  the  Vatican. 

1029  GENIUS  OF  ETERNAL  REPOSE. 

H.  3  ft.  11  in.  Original  Marble,  in  the  Louvre. 

The  statue  is  of  Pentelic  marble;  but  it  is  of  the  Roman  period  as  is 
shown  by  the  fact  that  the  pupils  of  the  eyes  are  indicated.  This  is  one 
of  the  statues  that  belonged  to  the  collection  of  the  Cardinal  Mazarin, 
and  was  one  of  those  which  were  left  by  him  to  the  Due  de  Meilleraye 
who  took  the  arms  and  the  name  of  the  Cardinal,  and  who,  when  he 
got  the  statues,  did  with  his  own  hands  a  lot  of  smashing  to  prove  the 
absolute  purity  of  his  thoughts  and  his  abhorrence  of  the  nudities  of 
Greek  mythology.  The  statue  has  been  broken  in  two,  and  all  the 
front  part  of  it  has  been  banged  and  battered.  It  was  so  mutilated 
that  at  one  time  it  passed  for  an  Hermaphrodite.  The  restorations 
are  good,  and  the  statue  is  recognized  as  a  work  of  excellent  art. 
Whether  the  original  composition  was  of  Greek  or  of  Roman  art  can¬ 
not  as  yet  be  determined. 

1030  GERMANICUS  (so-called).  H.  5  ft.  1 1  in. 

Original  Marble,  in  the  Louvre. 

Of  Parian  Marble.  Place  and  date  of  discovery  unknown,  but  in 
Italy,  and  probably  during  the  last  half  of  the  1 6th  century.  In  1685 
it  was  sold  by  Cardinal  Savelli  to  Louis  XIV,  together  with  the 
so-called  Jason ;  and  placed  first  at  Versailles,  afterwards  in  the  Louvre. 
Some  consider  it  to  be  a  statue  of  a  Roman  orator,  in  the  character 
of  Mercury,  the  god  of  eloquence,  of  whom  the  tortoise  below  the 
drapery  is  an  emblem.  It  is  inscribed,  “  Cleomenes,  son  of  Cleomenes, 
made  this.  ” 

1031  ANTINOUS  OF  THE  CAPITOL.  H.  3  ft.  10^  in. 

Original  Marble,  in  the  Capitoline  Museum. 

Found  in  Hadrian’s  Villa,  near  Tivoli;  placed  in  the  Museum  by  Pope 
Clement  XII. 

1032  THE  BORGHESE  WARRIOR. 

H.  5  ft.,  and  from  head  to  foot,  6  ft.  6  in. 

Original  Marble,  in  the  Louvre. 

This  statue  was  found  on  the  coast  near  Antium,  early  in  the  17th 
century,  very  near  the  spot  where,  a  century  before,  the  Apollo  Belve- 


CASTS  FROM  ANTIQUE  SCULPTURE. 


99 


dere  was  found.  The  stem  supporting  it  is  inscribed  in  Greek  letters, 
“  Agasias,  son  of  Dositheas,  of  Ephesus,  made  me  and  therefore  it  is 
a  specimen  of  Greek  sculpture  of  the  Fourth  Epoch,  that  ended  with 
the  Roman  conquest.  It  is  now  asserted  that  this  statue  does  not 
represent  a  gladiator,  but  a  foot-soldier,  defending  himself  against  a 
horseman;  and  that  gladiators  were  principally  slaves,  who  fought  with 
more  or  less  armor.  Viardot  insists  that  it  is  Greek,  and  represents  an 
athlete  of  the  Hellenic  games,  gladiators  not  being  known  to  that  peo¬ 
ple,  but  were  of  Roman  origin. 

1033  GROUP  OF  LAOCOON  AND  HIS  SONS. 

H.  6  ft.  yz  in.  to  top  of  head.  Date  probably  B.  C.  100. 

Original  Marble,  in  the  Vatican. 

The  original  was  executed  by  three  sculptors — Agesandros,  Atheodo- 
ros,  and  Polydoros.  It  was  found  in  1506,  in  the  ruins  of  the  Palace 
of  Titus,  on  the  Esquiline,  Rome,  and  the  Pope  ordered  a  public  festi¬ 
val  in  honor  of  its  discovery. 

The  right  arm  of  Laocoon  was  wanting  in  the  group  as  found.  One 
in  terra  cotta,  by  Bernini,  was  substituted.  Michael  Angelo  designed 
one  in  marble,  but  never  finished  it.  Liibke  and  other  writers  insist 
that  the  right  arm  was  not  originally  in  the  position  given  to  it  by  the 
great  sculptor,  but  was  bent  down  behind  the  head,  which  was  thus 
supported  by  the  hand  in  that  moment  of  exhausted  agony.  T  his  posi¬ 
tion  of  the  arm  is  often  given  in  engravings. 

1034  APOXYOMENOS.  H.  6  ft.  5^  in.  Original  Marble,  in  the  Vatican. 

This  cast  represents  an  athlete  scraping  from  his  arm  with  the  strigil 
the  sand  and  oil  of  the  arena.  Athletes  were  contestants  in  the  public 
games,  and  before  entering  the  arena  rubbed  their  naked  bodies  over 
with  oil.  The  original,  in  bronze,  executed  by  Lysippos,  was  found 
in  the  Trastavere,  Rome,  in  1849.  Agrippa  had  it  placed  in  front  of 
the  Thermae,  near  the  Pantheon,  and  it  was  so  popular  that  when 
Tiberius  attempted  its  removal  to  his  own  residence,  the  people  rose 
and  forbade  it . 

It  is  believed  that  the  five-spot  on  the  die  (tessera)  held  out  in  the 
right  hand  signifies  that  the  figure  came  out  fifth  in  the  contest,  though 
Waldstein  says  the  die  was  placed  in  the  restored  right  hand  on  the 
strength  of  a  misinterpretation  of  some  words  of  Pliny. 

103t  BUST  OF  NERO.  H.  1  ft.  11  in.  Original  Marble,  in  the  Louvre. 

jo^6  AJAX,  or  MENELAUS.  H.  2  ft.  3^  in. 

Original  Marble,  in  the  British  Museum. 

This  bust  has  been  erroneously  called  Ajax.  It  was  found  in  1771 
by  Mr.  Gavin  Hamilton  in  the  Pantinella,  Hadrian’s  Villa. 


100 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1037  S1LENUS  HOLDING  THE  INFANT  DIONYSOS. 

H.  6  ft.  4  in.  Orignal  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  found  in  the  1 6th  century  in  Rome,  in 
the  gardens  of  Sallust.  The  hands,  half  of  the  right  forearm,  and  right 
toes  of  Silenus,  and  left  leg  of  Dionysos  are  restorations. 

1038  VENUS  KALLIPYGE. 

H.  5  ft.  1  in.  Original  Marble  in  the  Naples  Museum. 

So  called  from  the  Greek  definition  of  its  peculiar  character.  It  was 
once  in  the  Farnese  Palace,  Rome.  The  head  and  the  right  leg  below 
the  knee  are  supposed  to  be  restorations. 

1039  BOY  AND  GOOSE. 

H.  2  ft.  9*4  in.  Original  Marble,  in  the  Vatican. 

Found  in  1789,  at  Civita  Vecchia,  Appian  Way.  It  is  thought  to  be 
copied  from  a  bronze  work  by  Boetius,  of  Carthage.  Heads  of  the 
child  and  goose,  with  the  wing  tips,  are  restorations. 

1040  YOUTH  SUPPLICATING. 

H.  4  ft.  lYz  in.  Original  Bronze,  at  Berlin. 

The  original  of  this  statuette  is  said  to  have  been  found  in  the  Tiber. 
From  Clement  XI  it  passed  through  several  hands  to  the  King  of  Prussia. 
The  right  hand  and  part  of  the  forearm  are  restorations. 

1041  ACHILLES  BORGHESE. 

H.  6  ft.  9  in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  formerly  in  the  Villa  Borghese,  whence 
its  name.  Its  proper  name  is  doubtful.  Clarac  thought  it  a  copy  of  a 
bronze  by  Alcamenes,  favorite  pupil  of  Phidias.  Visconti  first  gave  it 
the  name  of  Achilles,  but  Winkelman  thinks  it  a  statue  of  Mars,  and 
that  the  ring  or  anklet  indicated  the  custom  of  the  Spartans  of  chain¬ 
ing  up  the  God  of  War,  “  that  he  might  never  leave  them.” 

1042  HERMES  OF  THE  BELVEDERE. 

H.  6  ft.  6  in.  Original  Marble,  in  the  Vatican. 

Probably  found  about  1  ^42  in  a  garden  near  the  Castle  of  St.  Angelo 
(Michaelis).  Purchased  by  Paul  III,  and  placed  by  him  in  the  Belvedere 
of  the  Vatican.  There  are  no  restorations.  The  right  leg  was  broken 
between  the  ankle  and  hip,  and  is  not  well  joined  to  the  foot. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


IOI 


1043  CROUCHING  VENUS. 

H.  2  ft.  8 in.  Original  Marble,  in  the  Vatican. 

The  original  statuette  was  found  at  Salone,  on  the  road  from  Rome 
to  Palestrina.  The  left  hand,  right  forearm,  and  upper  part  of  the  head 
are  modern. 

1044  VENUS  AT  THE  BATH. 

H.  2  ft.  3  in.  Original  Marble,  in  the  Louvre. 

Much  of  this  figure  is  of  modern  restoration.  It  is  supposed  to  be  a 
copy  of  the  Venus  of  Polycharnres,  which  Pliny  says  was  taken  to 
Rome  in  his  time. 

1045  BONE-PLAYER.  H.  2  ft.  yz  in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  statue  was  found  at  Rome  in  730.  The  right 
hand,  neck,  and  left  shoulder  are  modern. 

1046  COLOSSAL  BUST  OF  AESCULAPIUS. 

H.  1  ft.  9  in.  Original  Marble,  in  the  British  Museum. 

Original,  made  300  B.  C.,  was  found  in  Isle  of  Melos  in  1828. 

\_ 

1047  JULIA.  H.  4  ft.  5)4  i«-  Original  Marble,  in  the  Vatican. 

The  original  of  this  statue  was  found  on  the  coast  of  Barbary,  at  Ben 
Ghuzi,  and  is  sometimes  called  A  Young  Roman  Girl. 

1048  DEMOSTHENES.  H.  6  ft.  3  in.  Original  Marble,  in  the  Vatican. 

Formerly  in  the  Villa  Aldobrandini  at  Frascati.  Restorations  :  both 
wrists  and  hand,  with  the  scroll. 

Perhaps  a  copy  of  the  bronze  portrait  statue  by  Polyeuktus  at 
Athens,  3d  century  B.  C. — [IValdstein.] 

1049  SOPHOCLES. 

H.  6  ft.  8 Yz  in.  Original  Marble,  in  the  Lateran,  Rome. 

Found  at  Terracina  in  the  court  of  a  private  house.  Probably  a  copy 
of  a  bronze  original  of  the  4th  century  at  Athens. — [IV aldsteinY\ 

1030  ARISTIDES,  or  zESCHINES. 

H.  6  ft.  6  in.  Original  Marble,  in  the  Naples  Museum. 

Found  in  Herculaneum  in  1753  in  fragments. 


102 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1051  BUST  OF  SOCRATES.  H.  1  ft.  8  in. 

Original  Marble,  in  the  Louvre. 

“  The  portraits  of  Socrates  date  back  to  a  bronze  statue  of  him  made 
by  Lysippos  and  erected  at  Athens  after  his  death.  The  features  of  this 
bust  correspond  well  with  the  description  put  into  Socrates’  own  mouth 
by  Plato.” 

I0t2  BUST  OF  HOMER.  H.  1  ft.  1  1  in.  Original  Marble,  in  the  Louvre. 

This  bust  is  very  like  the  one  in  the  British  Museum.  The  original 
was  found  inserted  in  a  garden  wall  in  Rome. 

1053  BUST  OF  HOMER.  H.  1  ft.  9^  in. 

Original  Marble,  in  the  British  Museum. 

The  original  of  this  bust  was  found  at  Baiae  in  1 780.  There  are 
many  copies,  and  all  are  of  doubtful  authenticity  as  portraits. 

1054  COLOSSAL  BUST  OF  JUPITER. 

fl.  2  ft.  8‘/2  in.  Original  Marble,  in  the  Vatican. 

The  original  in  marble  of  this  cast  was  found  at  Otricoli,  a  small 
town  about  fifty  miles  north  of  Rome,  built  near  the  site  of  the  ancient 
Otriculum. 

1055  CARYATID.  FI.  7  ft.  5  in.  Original  Marble,  in  the  Vatican. 

The  original  of  this  figure  is  from  the  Erectheum  at  Athens. 

iotO  POLHYMNIA.  H.  5  ft.  11  in.  Original  Marble,  in  the  Louvre. 

The  statue  was  once  in  the  Villa  Borghese.  Only  the  lower  half  is 

said  to  be  antique,  the  remainder  being  restored  by  Augustino  Penna 
from  a  bas-relief  on  a  sarcophagus  in  the  Capitol. 

10S7  APOLLO  SAUROKTONOS  (Lizard-Killer). 

H.  4  ft.  \oj4  in.  Original  Marble,  in  the  Louvre. 

Found  among  the  ruins  of  the  house  of  Augustus  in  the  Palatine, 
during  the  excavations  of  the  Abbe  Rancoureil  in  1777.  Is  mentioned 
by  Pliny  as  a  work  of  Praxiteles.  “  The  meaning  of  the  lizard  is  some¬ 
what  doubtful.  It  is  known  that  the  lizard  had  certain  magic  prop¬ 
erties  attributed  to  it,  and  was  used  in  incantations;  but  in  this  group 
many  critics  prefer  to  see  only  a  genre  subject — Apollo,  as  a  boy,  try¬ 
ing  to  1  stalk’  and  pierce  the  lizard,  simply  as  an  exercise  of  agility, 
the  animal  being  extremely  quick  in  its  movements.”—  [IValdstein.] 


CASTS  FROM  ANTIQUE  SCULPTURE. 


I°3 


1058  FLORA. 

H.  5  ft.  5 yz  in.  Original  Marble,  in  tile  Capitoline  Museum,  Rome. 

1059  PUDICITIA.  H.  4  ft.  6%  in.  Original  Marble,  in  the  Vatican. 

Formerly  in  the  Villa  Mattei.  Placed  in  the  Vatican  by  Clement 
XIV.  The  statue  derived  its  name  from  the  long,  full  drapery  and  the 
veiled  head  and  shoulders,  which  are  considered  appropriate  attributes 
of  the  Goddess  of  Modesty.  The  name  has  been  questioned,  how¬ 
ever,  the  statue  being  considered  by  some  authorities  as  a  portrait  ot 
Livia,  wife  of  Augustus. 

1060  CENTAUR  AND  CUPID. 

H.  4  ft.  6]4.  in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  found  at  Villa  Fonesca.  There  is 
another  in  the  Vatican,  and  it  is  doubtful  which  is  the  copy.  The 
winged  figure  is  thought  by  Viardot  to  be  a  Bacchus,  and  not 
Cupid,  as  he  has  an  ivy  wreath. 

1061  DAUGHTER  OF  NIOBE. 

H.  5  ft.  6  in.  Original  Marble,  in  the  Vatican. 

Discovered  possibly  in  Hadrian’s  Villa  in  the  sixteenth  century. 
Formerly  in  the  Papal  gardens  of  the  Quirinal.  There  are  no  restora¬ 
tions. 

1062  FAUN  OF  THE  CAPITOL.  H.  5  ft.  7  in. 

Original  Marble,  in  the  Capitoline  Museum,  Rome. 

(The  “  Marble  Faun  ”  of  Hawthorne.) 

Found  in  1701  near  Civita  Lavinia,  where  there  was  formerly  a  Villa 
of  Antonius  Pius.  Placed  in  the  Museum  of  the  Capitol  by  Benedict 
XIV  in  1753. 

1063  FAUN,  WITH  KID.  H.  4  ft.  3  in.  Original  Marble,  at  Madrid. 

1064  FAUN  (a  la  TacheJ.  H.  1  ft.  10  in.  Original  Marble,  in  the  Louvre. 

This  bust  of  a  laughing  Faun  takes  its  French  designation  from  a  spot 
or  stain  on  the  right  cheek  and  shoulder  of  the  original  marble. 

1065  ATHLETE.  H.  4  ft.  9^  in. 

Original  Marble,  in  the  Glyptothek,  Munich. 

Date  and  place  of  discovery  unknown,  represents  an  athlete  pre¬ 
paring  for  a  contest  in  the  public  games. 


104 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1066  DYING  GALATIAN.  H.  1  ft.  11  in.  L.  5  ft.  1 1  in. 

Original  Marble,  in  the  Capitoline  Museum,  Rome. 

Found  in  Rome  in  the  Sixteenth  century.  Formerly  in  the  Villa 
Ludovisi,  from  which  it  was  carried  to  the  Capitol  by  Clement  XI 1 
(1730-1740.) 

Restorations: — The  end  of  the  nose,  the  right  hand  and  arm,  part 
of  the  left  knee,  the  toes,  and  part  of  the  plinth,  including  the  sword 
and  a  portion  of  the  horn. 

“  Although  this  statue  is  still  known  as  the  ‘Dying  Gladiator,’  the 
theory  by  which  it  received  that  name  has  long  since  been  proved 
erroneous,  partly  by  the  fact  that  it  is  undoubtedly  a  product  of  Greek 
art,  which  knew  nothing  of  gladiators,  as  they  were  a  peculiarly 
Roman  institution,  and  partly  by  the  strong  resemblance  of  face  and 
figure  to  the  descriptions  of  the  ancient  Galatians.  These,  the  Mysian 
Gauls,  as  they  are  sometimes  called,  were  a  barbarous  race,  who 
invaded  Greece  and  the  Greek  settlements  of  Asia  Minor  in  the  third 
century  B.  C.,  and  were  repressed  by  Attalos  I,  king  of  Pergamon.  In 
commemoration  of  his  victory  he  dedicated  a  group  of  bronze  statues 
representing  his  vanquished  enemies  on  the  Akropolis  of  Pergamon,  and 
sent  others  as  a  gift  to  Athens.  It  is  now  generally  supposed  that  this 
and  the  group  No.  1092  (Galatian  and  his  Wife)  are  copies  in  marble 
of  two  of  those  erected  in  Pergamon.  The  toque  around  the  neck, 
and  the  moustache,  which,  when  worn  without  beard,  was  regarded 
as  barbarous  by  the  Greeks,  were  distinctive  of  the  Galatians;  and 
there  can  be  little  doubt  that  this  represents  one  of  them,  who,  defeated 
in  battle,  is  dying  from  a  wound  either  received  from  an  enemy,  or  as 
some  think,  inflicted  by  himself  in  order  to  escape  slavery. 

“There  are  few  statues  in  which  pathos  is  expressed  in  so  high  a 
form  as  in  this,  an  effect  produced  chiefly  by  the  quiet  restrained  man¬ 
ner  in  which  the  artist  has  suggested  rather  than  expressed  the  emo¬ 
tions  of  pain  and  despair,  thus  stimulating  the  spectator’s  imagination 
and  appealing  to  his  sympathy.  This  quality  will  be  better  appreciated 
by  comparison  with  the  Laocoon,  No.  1033,  in  which  physical  suffer¬ 
ing  is  expressed  in  the  wildest  and  most  vehement  form,  both  in  faces 
and  figures,  with  an  amount  of  detail  which  leaves  no  room  for  the 
imagination.”  (Catalogue  of  Boston  Museum.  J 


1067  APHRODITE  ARRANGING  HER  HAIR. 

H.  4  ft.  10  in.  Original  in  the  Vatican. 

Aphrodite  is  represented  in  one  of  the  many  toilet  scenes,  chiefly 
connected  with  the  bath  in  which  she  served  as  a  subject  for  the  later 
Greek  artists. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


IO«j 


1068  MERCURY  IN  REPOSE. 

H.  3  ft.  6  in.  Original  in  the  Museum,  Naples. 

The  original  in  bronze  of  this  cast  is  classed  among  the  finest  of 
ancient  date,  and  was  found  in  Herculaneum  in  1758.  Its  base  is  the 
only  modern  part.  The  left  hand  is  supposed  to  have  held  the  caduceus. 

1069  APOLLO  BELVEDERE. 

H.  7  ft.  1  in.  Original  Marble  in  the  Vatican. 

The  original  of  this  statue  was  discovered  at  Cape  d’Anzo  (Antium) 
in  1503.  Bought  by  Julius  II,  when  still  a  cardinal,  it  was  placed  by 
him,  when  Pope,  in  the  Belvedere  of  the  Vatican.  The  name  of  its 
sculptor  is  unknown.  Its  date  is  placed  at  B.  C.  279.  Canova  and 
Visconti  think  it  is  a  copy  from  an  ancient  bronze  by  Calamus.  The 
left  hand  and  wrist,  and  the  fingers  of  the  right  hand  were  restored  by 
G.  A.  da  Montorsoli,  pupil  of  Michael  Angelo.  Undoubtedly  many 
copies  of  the  original  were  made,  and  a  bronze  copy  discovered  in  1792 
at  Paramythia,  and  now  at  St.  Petersburg,  in  the  judgment  of  some 
has  changed  entirely  the  meaning  of  the  action  of  the  figure.  Apollo 
is  here  represented  as  holding  a  bow  and  discharging  an  arrow  at  the 
serpent  Python,  sent  by  Juno  to  destroy  his  mother,  Latona.  In  the 
bronze  statuette  referred  to,  there  is  no  tree  trunk  (necessary  to  support  a 
figure  in  marble)  but  the  left  hand  holds  a  shield  bearing  the  head  of 
Medusa,  supposed  to  turn  all  gazers  into  stone,  and  which  Homer,  in 
the  Iliad,  xv,  318,  says  Jupiter  lent  to  Apollo.  Dr.  Liibke  accepts  this 
explanation  of  the  action  of  the  figure,  and  says,  “Not  until  now  have 
we  undei stood  the  statue.”  Waldstein  says:  “The  statue  is  not  an 
original  work,  but  a  copy,  whether  from  bronze  or  marble  is  uncertain.” 

070  COLOSSAL  MASK  OF  JUNO.  H.  3  ft.  3  in. 

From  a  copy,  in  marble,  in  the  Villa  Ludovisi,  Rome,  probably  after 
Alcamenes. 

1071  MELEAGER.  H.  6  ft.  in.  Original  marble  in  the  Vatican. 

The  original  was  found  in  Rome,  and  is  supposed  to  be  of  the  time 
of  Hadrian,  A.  D.  76-136. 

1072  BUST  OF  MENELAUS,  or  AJAX. 

H.  3  ft.  Original  Marble,  in  the  Vatican. 

The  original  of  this  bust  was  found  at  Hadrian’s  Villa,  Tivoli,  and  is 
commonly,  but  erroneously,  known  as  Ajax.  Visconti  satisfactorily 
proved  it  to  be  Menelaus.  Bas-reliefs  of  Hercules  fighting  with  Cen¬ 
taurs  are  on  the  helmet. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


106 

1073  TORSO  OF  HERCULES  (the  BELVEDERE  TORSO). 

H.  4  ft.  1  yz  in.  Original  Marble,  in  the  Vatican. 

Date  and  place  of  discovery  unknown.  It  was  taken  from  the 
Palazzo  Colonna  to  the  Belvedere  of  the  Vatican  during  the  pontificate 
of  Clement  VII  (152 3— ’34).  There  are  no  restorations. 

This  figure  was  one  of  the  chief  promoters  of  sculpture  during  the 
Renaissance.  Michael  Angelo  regarded  it  with  enthusiastic  admiration, 
and  declared  himself  its  pupil.  Its  influence  has  not  declined  with  the 
development  of  modern  knowledge  of  Greek  Art,  as  it  still  retains  its 
place  among  the  grandest  statues  of  Rome. 

1074  JASON.  H.  5  ft.  2  in.,  W.  3  ft.  Original  Marble,  in  the  Louvre. 

Formerly  in  Rome,  in  the  Palazzo  Savelli,  later  in  the  Villa  Montalto. 
Purchased  of  Cardinal  Savelli  for  Louis  XIV  in  1685,  and  by  him 
placed  at  Versailles,  whence  it  was  subsequently  removed  to  the  Louvre. 

This  statue  has  been  called  Mercury  and  Cincinnatus,  but  is  now 
considered  to  represent  the  famous  leader  of  the  Argonauts,  hurriedly 
tying  on  but  one  sandal  in  his  haste  to  seek  his  uncle  Pelias,  usurper  of 
his  father’s  throne,  and  who  had  been  warned  by  an  oracle  to  beware  of 
the  “  one-sandalled  man.” 

1075  BUST  OF  PERICLES. 

H.  1  ft.  io'/i  in.  Original  Marble,  in  the  British  Museum. 

1076  BUST  OF  PERIANDER. 

H.  1  ft.  7  in.  Original  Marble,  in  the  British  Museum. 

One  of  the  Seven  Sages  of  Greece. 

1077  BUST  OF  JULIUS  C/ESAR. 

H.  1  ft.  2  in.  Original  Marble,  in  the  British  Museum. 

1078  THE  “  SPINARIO.”  H.  2  ft.  4%  in. 

Original  Bronze  in  the  Palazzo  dei  Conservatori,|Rome. 

The  date  and  place  of  discovery  unknown,  and  possibly  the  statue 
never  was  buried  (Michaelis).  The  first  date  definitely  associated  with 
it  is  1471,  when  it  was  one  of  the  few  ancient  sculptures  with^which 
Sixtus  IV  founded  the  Capitoline  Collection.  After  the  treaty  of  Tolen- 
tino,  in  1797,  it  was  carried  to  France  by  Napoleon,  but  subsequently 
returned.  There  are  no  restorations. 

1079  HEAD  OF  ALEXANDER  THE  GREAT. 

H.  1  ft.  2]/2  in.  Original  Marble,  in  the  British  Museum. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


107 


1080  HEAD  OF  DIOGENES. 

H.  1  ft.  2  in.  Original  Marble,  in  the  British  Museum. 

1081  BUST  OF  DIONE. 

H.  1  ft.  \\]4  in.  Original  Marble,  in  the  British  Museum. 

1082  BUST  OF  CLYTIE.  Original  Marble,  in  the  British  Museum. 

1083  BUST  OF  SEPTIMIUS  SEVERUS. 

H.  2  ft.  2  in.  Original  Marble,  in  the  British  Museum. 

1084  BUST  OF  TRAJAN. 

H.  1  ft.  11  in.  Original  Marble,  in  the  British  Museum. 

The  original  of  this  bust  was  found  in  the  Campagna  of  Rome  in 

>77 6- 

1085  BUST  OF  ISIS. 

H.  1  ft.  \\]4.  'n-  Original  Marble,  in  the  British  Museum. 

The  Egyptian  Goddess,  with  the  lotus  flower  above  her  forehead,  is 
here  represented  unveiled. 

1086  THE  WRESTLERS. 

H.  3  ft.  Original  Marble,  in  Uffizi  Gallery,  Florence. 

Found  in  1583  near  the  Lateran,  Rome.  First  in  the  Villa  Medici, 
Rome,  removed  to  Florence  in  1677. 

1087  DIANA  HUNTRESS.  H.  6  ft.  6  in.  Original  Marble,  in  the  Louvre. 

Also  called  Diana  of  Versailles.  The  statue  was  brought  to  France 
during  the  reign  of  Francis  1.  It  derives  its  name  from  the  fact  that 
Louis  XIV  had  it  removed  to  Versailles.  It  was  placed  in  the  Louvre 
in  1798. 

1088  AUGUSTUS  C/ESAR.  H.  6  ft.  10  in. 

Original  Marble,  in  the  Louvre. 

1089  HERMES  WITH  THE  INFANT  DIONYSOS. 

H.  7  ft.  2  in.  Original  in  Marble,  in  the  Museum  at  Olympia. 

The  original  of  this  cast  was  discovered  at  Olympia  in  the  Heraeum 
(Temple  of  Hera)  May  8,  1877.  Now  in  the  Museum  at  Olympia.  It 


CASTS  FROM  ANTIQUE  SCULPTURE. 


108 

is  known  to  be  by  Praxiteles,  on  the  authority  of  Pausanias  (2d  century 
A.  D.),  who  saw  and  described  it.  Waldstein  says:  “This  is  the  only 
Greek  statue  in  existence  of  which  we  can  say,  without  hesitation,  that 
it  comes  directly  from  the  hand  of  one  of  the  greatest  masters.” 

All  below  the  knee  of  Hermes  is  lost,  save  one  foot  (seen  on  the 
plinth  behind  the  cast). 

1090  BUST  OF  LUCIUS  VERUS. 

H.  2  ft.  10  in.  Original  Marble,  in  the  Louvre. 

From  tlie  original  found  in  Roma  Vecchia. 

1091  BUST  OF  MARCUS  AURELIUS. 

H.  2  ft.  1  1  '/2  in.  Original  Marble.  Villa  Borghese. 

1092  GALATIAN  AND  HIS  WIFE.  H.  6  ft.  10  in. 

Original  group  in  marble,  in  the  Villa  Ludovisi,  Rome. 

The  date  and  place  of  discovery  is  unknown,  but  it  has  been  in  the 
Villa  Ludovisi  since  it  was  built  in  1632. 

Restorations: — On  the  man,  most  of  the  right  arm,  with  the  handle 
of  the  sword  and  beginning  of  the  blade,  the  lower  half  of  the  nose, 
the  left  forearm  and  fore-finger,  and  the  part  of  the  cloak  which  stands 
out  from  the  back.  On  the  woman,  the  nose,  tile  left  arm  above  the 
elbow,  the  right  hand  and  wrist,  the  four  smaller  toes  of  the  right  foot, 
the  piece  of  garment  that  falls  in  front  of  the  left  shoulder.  Also  the 
supports  between  the  two  figures,  and  small  pieces  inserted  in  various 
places. 

“This  group,  like  the  Dying  Galatian  (No.  10 66),  is  most  probably 
copied  from  the  bronze  figures  erected  by  Attalos  I  at  Pergamon  in 
commemoration  of  his  victories  over  the  Galatians  or  Mysian  Gauls. 
It  represents  one  of  their  stout-hearted  warriors  who,  finding  that  defeat 
has  overtaken  them,  and  preferring  death  to  captivity  for  both  his  wife 
and  himself,  has  given  her  a  mortal  thrust,  and  now  plunges  his  sword 
into  his  own  body,  while  he  supports  her  sinking  form.  His  attitude 
and  the  wild  look  backwards  towards  his  enemies  show  the  haste  with 
which  he  has  been  obliged  to  act. 

“  Although  in  action  this  is  a  complete  contrast  to  its  companion, 
the  Dying  Galatian,  yet  the  spirit  which  governed  the  conception  of 
the  two  works  is  quite  the  same,  and  shows  how  much  of  the  feeling 
of  the  fourth  century  was  preserved  in  the  early  masters  of  the  School 
of  Pergamon.  What  has  been  said  of  the  Dying  Galatian  applies 
equally  to  this  group,  except  that  pathos  is  here  expressed  in  full  action, 
not  in  repose.  But  the  pathos  is  of  the  same  noble  quality,  and  the 
suffering  which  is  impressed  upon  the  spectator  is  moral,  not  physical. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


IO9 


The  monumental  sense  displayed  in  the  composition,  the  manner  in 
which  all  the  lines  of  the  two  figures  are  made  to  combine  so  as  to 
result  in  an  effect  of  unity,  is  well  worthy  of  study,  because  it  is  a 
quality  often  overlooked  in  modern  groups.”  {Catalogue  of  Boston 
Museum.) 

1093  BAS-RELIEF. 

From  tlie  Original  Marble,  in  the  Museo  Bourbonico,  Naples. 

According  to  the  names  on  this  cast  it  represents  Antiopa  between 
her  sons,  Zethus  and  Amphion,  who  released  their  mother  from  cruel 
bondage  by  slaying  their  uncle  Lycus,  her  oppressor;  but  over  the 
figures  of  the  original  bas-relief  are  the  names  of  Hermes  (Mercury), 
Eurydice,  and  Orpheus,  indicating  the  meeting  of  the  latter  with  his 
lost  wife  in  the  realm  of  Pluto. 

1094  FRAGMENT  OF  A  WINGED  FIGURE. 

From  the  Original  Marble,  in  the  Vatican. 

1095  ETRUSCAN  ARM.  L.  4  ft.  Original  Bronze,  in  the  Vatican. 

Found  in  the  harbor  of  Civita  Vecchia  in  1835,  and  supposed  to  be 
part  of  a  statue  of  Neptune. 

1096  BUST  OF  AGR1PPA  DE  GABIES. 

H.  1  ft.  7  in.  Original  Marble,  in  the  Louvre. 

1097  BUST  OF  ANT1NOUS. 

H.  1  ft.  6  in.  Original  Marble,  in  the  Louvre. 

1098  BUST  OF  ANTON1US  PIUS. 

H.  1  ft.  4  in.  Original  Marble,  in  the  Vatican. 

The  original  was  found  by  Gavin  Hamilton,  in  Hadrian’s  Villa. 

1099  BUST  OF  COMMODUS. 

H.  1  ft.  4  in.  Original  Marble,  in  the  British  Museum. 

1100  BUST  OF  CARACALLA. 

H.  1  ft.  8  in.  Original  Marble,  in  the  Louvre. 

1101  BUST  OF  V1TELLIUS.  Original  Marble,  in  the  Louvre. 

1102  HEAD  OF  APOLLO. 

H.  1  ft.  6)4,  in.  Original  Marble,  in  the  British  Museum. 

Attributed  to  the  school  of  Lysippus. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


I  10 

1103  BUST  OF  DIANA  D!  GABIA. 

H.  1  ft.  8j4  in.  Original  Marble,  in  the  Louvre. 

1104  SLAB  FROM  THE  FRIEZE  OF  THE  PARTHENON. 

From  the  Original  (Elgin)  Marble,  British  Museum. 

1 105  FRAGMENT — A  MASK.  Original  Marble,  in  the  Vatican. 

1 106  FRAGMENT — A  HUNTER.  Original  Marble,  in  the  Vatican. 

1107  FRAGMENT— A  WALKING  FIGURE. 

Original  Marble,  in  the  Vatican. 

1108  FRAGMENT— FRIEZE  OF  TRAJAN’S  FORUM,  ROME. 

Original  Marble,  in  the  Vatican. 

1109  BUST  OF  THE  CROWNED  AUGUSTUS  (CZESAR). 

H.  2  ft.  Original  Marble,  in  the  Louvre. 

mo  BUST  OF  THE  YOUNG  AUGUSTUS  (CZESAR). 

H.  1  ft.  5 yz  in.  Original  Marble,  in  the  Vatican. 

1111  BUST  OF  SC1PI0  AFRICANUS. 

H.  2  ft.  1  in.  Original  Marble,  in  the  Vatican. 

1112  MARCUS  AURELIUS.  H.  2  ft.  Original  Marble,  in  the  Louvre. 

Found  at  Acqua  Traversa. 

1113  BUST  OF  A  BARBARIAN. 

H.  1  ft.  6  in.  Original  Marble,  in  the  British  Museum. 
The  original  of  this  cast  was  found  in  Trajan’s  Forum,  Rome,  where 
many  similar  ones  were  discovered,  fastened  as  trophies  to  the  walls. 


1114 

SENECA— HEAD  OF.  H. 

1  ft.  1  in.  Original  Marble,  in  the  Louvre. 

1115 

BUST  OF  EURIPIDES. 

H.  1  ft. 

9j4  >n.  Original  Marble,  in  the  Vatican. 

1116 

BUST  OF  ARIADNE. 

H.  2  ft.  10  in. 

Original  Marble,  Capitol  Museum,  Rome. 

Often  called  the  Young  Bacchus. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1  1  1 


1117  BUST  OF  ANTINOUS  AS  BACCHUS. 

H.  2  ft.  Original  Marble,  in  the  British  Museum. 

The  original  of  this  head  was  found  in  the  Villa  Pamfili,  with  some 
fragments  of  a  wall-statue,  of  which  it  had  been  a  part. 

1 118  CAST  OF  A  SMALL  MODEL  OF  THE  RUINS  OF  THE  ACROP 

OLIS  AT  ATHENS. 

1 1 19  NIKE  FROM  SAMOTHRAKE.  H.  8  ft.  8  in.  (Statue  in  the  Louvre.) 

“  Of  Parian  marble.  Found  in  the  Island  of  Samothrake  in  1867  by 
M.  Champoiseau,  French  Consul  at  Adrianople,  and  transported  thence 
to  Paris.  Excepting  the  pieces  by  which  the  fragments  of  the  wings 
are  joined,  there  are  no  restorations. 

“  This  statue  was  part  of  a  votive  offering  erected  in  the  sanctuary 
of  the  Great  Gods  (the  Kabeiroi)  on  the  Island  of  Samothrake.  It  stood 
upon  a  huge  pedestal  in  the  form  of  a  ship’s  prow,  also  of  marble,  upon 
which  Nike  (Victory)  was  represented  rushing  forward  in  the  excitement 
of  battle,  carrying  a  mast  in  one  hand  and  holding  a  long  trumpet  to 
her  lips  with  the  other.  The  statue  and  pedestal  together,  were,  there¬ 
fore,  commemorative  of  a  naval  victory;  and  fortunately  a  coin,  or 
series  of  coins,  has  enabled  us  not  only  to  identify  the  victor  and  the 
battle,  but  also  to  restore  in  imagination  the  missing  parts  as  above 
described.  Among  the  coins  of  Demetrios  Poliorketes,  king  of  Mace¬ 
donia,  are  some  which  show  both  statue  and  pedestal  complete,  thereby 
proving  almost  beyond  a  doubt  that  his  was  the  victory  commemorated. 
The  battle  was  probably  that  in  which  he  defeated  Ptolemy  1,  of  Egypt, 
off  Cyprus,  in  306  B.  C.” — ( Catalogue  of  Boston  Museum.  J 

(See  No.  1 1 27.  A  reduced  copy  of  the  statue  including  the  pedestal.) 

1120  POSE1DIPPOS.  H.  4  ft.  5 ]/z  in.  (Seated  statue,  in  the  Vatican.) 

OfPentelic  marble.  For  History,  see  Menander,  No.  1121. 

Restorations:  The  end  of  the  nose  and  the  left  thumb. 

“This  statue  has  been  the  companion  of  its  neighbor,  the  Menander, 
from  an  indefinitely  remote  period.  Indeed,  it  has  been  supposed  that 
the  two  owe  their  exceptional  preservation  to  the  fact  that  in  the  Mid¬ 
dle  Ages  they  were  regarded  as  images  of  saints,  and  therefore  placed 
in  a  church,  where  they  remained  until  nearly  the  end  of  the  16th 
century. 

“  Poseidippos,  whose  portrait  is  identified  by  the  inscription  on  the 
base,  was  the  last  of  the  poets  of  the  New  Attic  Comedy,  and  flourished 
after  the  death  of  Menander,  291  B.  C. 

“The  striking  manner  in  which  the  difference  in  temperament 
between  the  two  men  is  expressed  is  well  worth  studying.  The  one  is 
nervous  and  energetic,  unmistakably  a  man  of  action,  while  the  other 
has  the  quiet,  pensive  air  of  the  student  and  the  dreamer.  The  distinc- 


1  I  2 


CASTS  FROM  ANTIQUE  SCULPTURE. 


tion  is  not  in  the  faces  alone,  but  is  felt  in  every  line  of  the  figures,  in 
their  manner  of  sitting,  and  even  in  the  drapery,  which  in  one  case 
falls  in  a  few  simple  folds,  and  in  the  other  is  treated  with  all  the  vigor 
and  restlessness  of  the  subject.” — f  Catalogue  of  Boston  Museum.  J 

i  121  MENANDER.  H.  5  ft.  (Seated  statue,  in  the  Vatican.) 

Of  Pentelic  marble.  Date  of  discovery  unknown. 

“Together  with  its  neighbor,  Poseidippos,  No.  1120,  it  appears  to 
have  stood  for  several  centuries  in  the  church  of  S.  Lorenzo  in  Panis- 
perna  on  the  Viminal,  Rome,  whence  they  were  removed  by  Sextus  V 
(1585—1590)  to  his  Villa  Montalto,  now  Grazioli.  It  remained  there 
until  the  time  of  Pius  VI  (1775-1800),  who  purchased  and  removed 
them  to  the  Vatican. 

“  Restorations:  The  left  hand,  with  the  scroll;  the  end  of  the  nose; 
and  part  of  the  right  foot. 

“  This  statue  was  established  as  a  portrait  of  Menander  by  Visconti, 
who  pointed  out  its  resemblance  to  a  small  head  inscribed  with  the 
poet’s  name,  and  thereby  disposed  of  the  popular  tradition  that  it 
represented  the  Roman  general  Maiius.  Pausonias,  in  his  description 
of  the  Dionysiac  Theatre  in  Athens,  mentions  a  statue  of  Menander 
which  he  saw  there,  and  it  was  formerly  supposed  that  the, statue  in  the 
Vatican  might  be  the  one  referred  to ;  but  this  is  impossible,  because  the 
pedestal  of  the  statue  seen  by  Pausonias  was  discovered  some  years 
ago  in  its  original  position,  with  the  name  Menander  upon  it,  and  it 
was  too  small  for  tire  base  of  this  figure. 

“While  it  cannot,  therefore,  be  the  original  statue  erected  to  the 
poet’s  honor  in  the  place  where  his  plays  were  produced,  this  is  one 
of  the  finest  examples  of  Greek  portrait  sculpture  that  survive,  especially 
on  account  of  the  ease  and  freedom  of  the  pose, 

“  Menander  died  in  291  B.  C.,  at  the  age  of  fifty-two,  and  this  por¬ 
trait  evidently  represents  him  in  the  last  years  of  his  life.” — ( Catalogue 
of  Boston  Museum.  J 

1122  BOXER  RESTING.  H.  4  ft.  3  in. 

“Original  bronze  in  the  collection  of  the  National  Government  in 
the  Baths  of  Diocletian,  Rome. 

“  Found  in  the  Spring  of  1885  among  the  foundation  walls  of 
Aurelian’s  Temple  of  the  Sun,  on  the  Quirinal  Hill,  Rome. 

“  Restorations:  The  end  of  the  left  thumb,  a  piece  of  the  right  thigh, 
and  the  seat. 

“  This  represents  a  boxer  resting  after  the  fight,  the  severity  of  which 
is  indicated  in  every  part  of  his  powerful  figure.  He  turns  his  head 
sharply  to  the  right,  looking  up  as  if  talking  or  listening  to  some  one 
at  his  side.  Leaning  heavily  upon  his  elbows,  with  his  head  sunk 
between  his  shoulders,  one  can  almost  hear  the  labored  breath,  and 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1 1 3 


see  the  trembling  of  his  swollen  hands.  The  muscles  of  his  back  are 
wrought  up  to  the  highest  state  of  development,  and  like  those  of  the 
arms  and  legs,  are  hard  and  distended  from  their  recent  action.  The 
feet  are  stiff  and  swollen,  and  evidently  too  sore  to  rest  upon  the 
ground.  The  sculptor  has  shown  his  estimation  of  the  boxer’s  char¬ 
acter  by  making  the  region  of  the  intellect  almost  abnormally  small  as 
compared  with  the  massive,  ugly  jaw.  The  nose,  cheeks  and  ears 
bear  witness  of  the  strength  and  skill  of  his  adversary,  but  the  realism 
of  the  figure  reaches  its  climax  in  the  deep  scratches  which  will  be 
noticed  on  the  various  parts  of  the  surface. 

“There  is  power  in  every  line  ot  the  figure,  and  though  we  may 
criticise  the  choice  of  subject,  we  must  admire  the  knowledge  and  the 
facility  with  which  it  has  been  handled. 

“  The  terrible  caestus,  or  boxing  glove,  the  details  of  which  were 
clearly  illustrated  for  the  first  time  by  the  discovery  of  this  statue,  con¬ 
sisted  of  three  parts:  first,  a  close-fitting  skin  glove,  which  left  the 
ends  of  the  fingers  and  the  palm  of  the  hand  open,  and  extended  above 
the  wrist,  ending  in  a  rim  of  fur.  Over  this  were  drawn  three  stout 
rings  of  sole  leather,  covering  the  first  joint  of  the  fingers,  and  fastened 
together  on  the  outside  of  the  hand  by  murderous  clamps  of  metal. 
The  chafing  of  the  rings  against  the  fingers  was  prevented  by  a  pad 
which  can  be  distinguished  on  the  hands  of  the  statue.  Finally  the 
rings  were  held  in  place,  and  the  wrist  was  strengthened  by  means  of 
two  long,  narrow  straps  which  were  interlaced  many  times  around  the 
hand  and  wrist.”  ( Catalogue  of  Boston  Museum.) 

1123  THREE  SLABS  IN  RELIEF. 

From  the  Original  in  Marble,  in  the  National  Museum,  Athens, 
Greece. 

The  middle  slab  represents  the  musical  competition  between  Apollo 
and  the  flute  player  Marsyas,  with  the  Scythian  between  them  pre¬ 
pared  to  flay  the  defeated  competitor.  On  the  other  two  slabs  are  six 
muses  with  their  instruments.  , 

Gift  of  Miss  Bessie  J.  Kibbey. 

1124  PHOTOGRAPH  OF  THE  RUINS  OF  THE  PARTHENON  AT 

ATHENS,  giving  a  view  of  the  East  Pediment,  from  which  was 

TAKEN  THE  STATUES  REPRESENTED  BY  THE  CASTS  ON  THE  TWO  LARGE 

PEDESTALS. 

1125  PHOTOGRAPH  OF  THE  ACROPOLIS  from  the  Stadium  Hill. 

1126  PHOTOGRAPH  OF  THE  ACROPOLIS  from  the  Hill  of  the  Nymphs. 

1 127  Reduced  copy  of  Nike  from  Samothrake,  including  original  pedestal. 

(See  No.  1119.) 


I  14  CASTS  FROM  ANTIQUE  SCULPTURE. 

1128  SATYR  PLAYING  THE  SCABELLUM  (Dancing  Faun). 

H.  4  ft.  \o>yz  in. 

Original  Marble,  in  the  Gallery  of  the  Uffizi,  Florence. 

“  Date  and  place  of  discovery  unknown.  Restorations:  The  greater 
part  of  the  head,  both  arms,  the  left  heel,  toes  of  the  right  foot,  and 
possibly  the  tail.  (Dutschke.)  ” 

“The  Scabellum  {/.poutzi^iov,  literally  a  wooden  shoe)  was  an  in¬ 
strument  played  with  the  feet,  producing  the  same  clattering  sound  as 
castanets.  It  was  used  by  flute-players  and  others  to  beat  time.  Prob¬ 
ably  this  satyr  is  represented  as  performing  that  office  for  a  Bacchic 
dance. 

“  The  figure  is  spirited  and  well  modelled.  The  thick,  bushy  hair, 
the  horns  projecting  from  the  brow,  and  the  realistic  treatment  of  the 
face  and  skin,  the  latter  being  represented  as  tougher  and  coarser  than 
that  of  Greek  youths,  all  are  indications  that  this  is  a  work  of  the  Hel¬ 
lenistic  age,  which  began  in  the  latter  part  of  the  fourth  century  B.  C.” 
( Catalogue  Boston  Museum .) 

1129  ANAKREON,  THE  LYRIC  POET  OF  TEOS.  H.  5  ft.  yin. 

Original  Marble,  in  the  Villa  Borghese,  Rome. 

Seated  figure.  Discovered  in  the  1 6th  century  at  Monte  Calvo,  in 
Sabina  (Brunn).  Restorations:  The  nose. 

1130  MARS  AND  CUPID.  H.  3  ft.  4  in. 

Original  Marble,  in  the  Villa  Ludovisi,  Rome. 

Found  near  the  Palazzo,  Santa  Croce,  Rome.  Executed  in  the  second 
half  of  the  fourth  century  B.  C. 

The  god  Ares  (Mars)  is  sitting  in  a  careless,  easy  attitude,  absorbed 
in  a  dreamy  reverie.  His  left  knee  is  elevated  and  clasped  by  his  hands. 
The  shield  is  resting,  unused,  at  his  side,  his  left  hand  inactively  and 
almost  absently  holds  the  sword.  The  Cupid  playing  at  his  feet  indi¬ 
cates  to  us,  moreover,  that  it  is  love  for  Venus  which  has  overcome  the 
God  of  Battles.  A  mark  of  the  left  shoulder  seems  to  indicate  that 
Venus  herself  stood  behind  him,  and  that  thus  originally  the  work  was 
a  group.  The  treatment  of  the  slender  figure,  especially  the  type  of 
head,  with  its  refined  features  and  flowing  hair,  calls  to  mind  the  Apoxy- 
omenus  of  Lysippus. 

1131  TRITON  (Mezza).  H.  3  ft.  6  in.  Original  in  the  Vatican. 

Found  by  Giuseppe  Buti  at  S.  Angelo  in  the  Tiburtino. 

This  is  the  statue  between  which  and  the  Ceres  of  Cnidus  Brunn 
traces  so  many  resemblances.  If  this  Triton  formed  part  of  the  famous 
work  by  Scopas,  then  these  resemblances  offer  an  argument  that  the 


CASTS  FROM  ANTIQUE  SCULPTURE. 


I  15 

Ceres  was  also  by  Scopas.  The  statue  is  but  a  torso ;  the  parts  from  the 
waist  down  are  wanting,  also  the  forearms.  The  grand  style  of  this 
extraordinary  torso  makes  it  one  of  the  most  beautiful  and  one  of  the 
most  precious  of  all  representations  of  marine  divinities.  His  features, 
though  mannered,  are  filled  with  an  ideal  beauty  and  a  nobility  which 
make  them  becoming  to  a  god,  though  we  must  refer  them  to  a  mon¬ 
ster.  The  mouth,  partly  open,  has  an  expression  that  is  hardly  human. 
The  scaly  skin,  tied  under  the  throat,  recalls  the  hide  worn  by  Hercules, 
or  by  the  inebriate  followers  of  Bacchus.  The  faun’s  ears  relate  to  Bac¬ 
chus,  or  they  may  have  been  added  in  order  that,  at  the  first  glance,  a 
monster  could  be  recognized. 

1132  MEROPE  AND  /EPYTUS  (ORESTES  AND  ELECTRA). 

H.  6  ft.  9  in. 

Original  Marble,  in  the  Villa  Ludovisi,  Rome. 

Restorations:  The  right  arm  of  zEpytus  and  the  left  hand  of  Merope. 

This  beautiful  group,  executed  by  the  sculptor  Menelaus,  of  Rome, 
depicts  the  meeting  of  a  mother  with  her  long  lost  son  at  the  moment 
when,  as  Welcker  says,  the  first  agitating  emotion  at  meeting  is  fol¬ 
lowed  by  calm  and  joy.  After  various  interpretations  have  been  at¬ 
tempted,  such  as  Penelope  and  Telemachus,  Theseus  and  zEthra,  Orestes 
and  Electra,  Otto  jahn  at  length  has  given  an  explanation  of  the  scene 
which  more  than  any  other  elucidates  the  work.  It  is  zEpytus  who 
returns  after  a  long  absence  to  avenge  his  mother,  Merope,  on  her  con¬ 
sort  Polyphontes,  the  murderer  of  her  first  husband.  In  order  to  make 
sure  of  the  offender,  zEpytus  has  assumed  to  be  the  murderer  of  the  son. 
Merope,  beside  herself  with  grief,  is  on  the  point  of  avenging  her  child 
on  the  stranger,  when  the  former  pupil  is  recognized  by  an  old  tutor, 
and  the  son  is  restored  to  the  mother.  This  subject,  which  is  dramati¬ 
cally  treated  by  Euripides,  and  also  employed  by  the  Roman  poet,  Ennius, 
is  depicted  in  the  marble  work  at  the  touching  moment  of  recognition. 
The  group  exhibits  fine  action  and  depth  of  feeling,  but  the  execution, 
from  the  great  care  displayed  in  the  arrangement  of  the  drapery,  is  not 
free  from  forced  elegance,  and  this  takes  away  from  the  freshness  of  the 
first  impression. 

1133  L’ARROTINO,  BARBARIAN  EXECUTIONER  WHETTING  HIS 

KNIFE  FOR  THE  FLAYING  OF  MARSYAS. 

L.  3  ft.  7  in.  H.  3  ft.  7  in. 

Original  Grecian  Marble,  in  the  Gallery  of  the  Uffizi  (Tribune), 
Florence. 

A  Sculptor  of  the  Pergamene  School.  Third  century  B.  C. 

Found  between  the  years  1534  and  1538  at  Rome. 


CASTS  FROM  THE  RENAISSANCE. 

(DATE — COMMENCEMENT  OF  THE  I  5TH  CENTURY.) 

No.  1 300. 

CAST  FROM  THE  WEST  BRONZE  GATE  OF  THE  BAPTISTRY  AT 

FLORENCE. 

Lorenzo  di  Cione  Ghiberti. 

Born  1378.  Died  1455. 

These  gates  are  historically  of  great  interest,  as  they  represent  the  main  work 
of  a  distinguished  artist’s  life,  for  Ghiberti,  when  he  began  them,  was  forty-six 
years  of  age,  and  when  he  finished  them  he  was  an  old  man  of  seventy-four. 

(The  gates  were  finished  in  1447,  but  they  were  not  gilded  until  the  month  of 
April,  1452.) 

This  cast  was  brought  from  the  South  Kensington  Museum,  London,  and  con¬ 
sists  of  ten  square  panels  containing  designs  from  the  Old  Testament,  each  design 
illustrating  three  or  four  incidents. 

The  left  highest  panel  shows  the  Creation  of  Adam  and  Eve,  the  Forbidden 
Fruit,  and  the  Expulsion  from  Eden.  On  the  right  panel  opposite  are  the  Offer¬ 
ings  of  Cain  and  Abel,  the  Killing  of  Abel,  Man’s  Labor,  and  Cain  with  his 
Maker. 

The  left  panel  below  has  the  Ark  after  the  Deluge,  Noah’s  Sacrifice  and  Inebria¬ 
tion.  On  the  right  are  the  Sacrifice  of  Isaac,  Servants  at  the  foot  of  the  Mount, 
and  Abraham  with  the  Three  Angels. 

The  left  central  panel  contains  Jacob  and  Esau,  and  on  the  right  Joseph  and 
his  Brethren,  their  Cruelty,  their  meeting  in  Egypt,  and  the  Cup  in  Benjamin’s 
Sack. 

The  left  panel  below  the  center  shows  Moses  Receiving  the  Law,  and  the 
People  at  the  Foot  of  the  Mount.  On  the  right  are  Joshua  before  Jericho,  and 
the  Division  of  the  Tribes. 

The  lowest  panel  on  the  left  contains  David  and  Goliath,  and  on  the  right 
Solomon  and  the  Queen  of  Sheba. 

Among  the  statuettes  in  the  upright  panels  are  Samson  with  the  Pillar, 
Joshua  in  Armor,  Judith  with  the  Head  of  Holofernes,  Jephthah’s  Daughter. 
Among  the  heads  are  two  on  a  line  with  the  top  of  the  second  panel  represent¬ 
ing  the  artist  Ghiberti  (the  bald  one  on  the  right)  and  Bartoluccio,  his  father- 
in-law. 

The  outer  panels,  bearing  fruits  and  flowers,  were  finished  by  Ghiberti’s  son, 
the  artist  having  died  ere  the  completion  of  his  work,  at  the  age  of  seventy-four 
years. 


CAST  FROM  THE  WEST  BRONZE  GATE  OF  THE  BAPTISTRY  AT  FLORENCE. 


(See  No.  1300.) 


CASTS  FROM  THE  RENAISSANCE. 


117 

The  cast  of  this  gate,  as  it  stands,  is  18  feet  2  inches  high  by  12  feet  6  inches 
wide,  exclusive  of  the  frame,  which  makes  it  altogether  19  feet  7  inches  high  by 
14  feet  6  inches  wide. 


1301,  1302,  1303,  1304,  1305,  1306,  1307,  1308,  1309. 

GROUP  OF  NINE  BAS-RELIEFS  OF  NYMPHS  OF  THE  FOUNTAIN  OF 

INNOCENTS. 

From  the  Original  Marbles,  in  the  Louvre. 

Jean  Goujon. 

Born  at  Paris,  1530.  Died,  1572. 


1310. 

THE  FOUR  EVANGELISTS. 

Bas-reliefs. 

Original  in  Marble,  in  the  Louvre,  from  the  Roodloft  of  St.  Germain  l’Auxerrois. 
The  small  panels  represent  Religion,  Faith  and  Strength. 

Jean  Goujon. 

13 1 1 ,  i3I2>  1 3l3>  I3I 4- 

BAS-RELIEFS  OF  SEA-NYMPHS. 

Original  Marbles,  in  the  Louvre,  formerly  in  the  Port  St.  Antoine. 

Jean  Goujon. 

•315- 

bas-relief  FROM  THE  TOMB  OF  CARDINAL  AND  CHANCELLOR 

DUPRAT. 

Original  Marble,  in  the  Louvre. 

Jean  Goujon. 

1316. 

BAS-RELIEF  OF  HISTORY  RECORDING  THE  WORKS  OF  PRESIDENT 
J.  A.  DuTHOU,  COUNSELLOR  AND  HISTORIAN. 

Original  Bronze,  in  the  Louvre. 

Francois  Anguier. 

Born  at  Eau,  in  Normandy,  1604.  Died  at  Paris,  1669. 


CASTS  FROM  THE  RENAISSANCE. 


1317- 


BAS-RELIEF  OF  VICTORY. 
Original,  in  the  Louvre. 
Jacquet. 


1318. 

FLYING  MERCURY. 

H.  5  ft.  1  in.  Original  Bronze,  in  the  National  Gallery,  Florence.  Executed 

about  1 560. 

Gio,  or  Gian  Bologna  (John  of  Bologna.) 

Born  at  Douai,  in  Flanders,  1524.  Died,  1608. 


1 3 1 9. 

DAVID  WITH  HEAD  OF  GOLIATH. 

H.  5  ft.  1  in.  Original  Bronze  in  the  National  Gallery,  Florence. 
Donato  di  Betto  Bardi  (Donatello  ) 
Contemporary  with  Ghiberti.  Died,  1468. 


1320. 

THE  THREE  GRACES,  or  CHARITIES. 

H.  6  ft.  6  in.  Original  Marble,  in  the  Louvre.  1560. 

Germain  Pilon. 

The  date  of  his  birth  is  not  known  with  certainty;  it  has  been  given  as  1520 
and  as  1515.  Died  about  1590. 

This  example  of  the  Renaissance  of  French  sculpture  was  executed  for  Catharine 
of  Medicis  in  memory  of  her  husband,  Henry  II  of  France,  whose  heart  was  placed 
in  the  original  urn,  supported  on  the  heads  of  the  three  female  figures,  standing 
back  to  back,  with  linked  hands,  upon  a  triangular  pedestal.  These  figures  rep¬ 
resent  Catharine  herself,  the  Duchess  d’Etampes,  and  Madame  Villeroy,  three  of 
the  fairest  women  of  that  time.  This  work  was  cut  out  of  a  single  block  of  mar¬ 
ble.  The  pedestal  was  made  by  a  different  hand,  and  bears  on  its  three  faces 
inscriptions  in  Latin,  to  the  following  effect: 


CASTS  FROM  THE  RENAISSANCE. 


“  Here  Catharine  lias  deposited  the  heart  of  the  king,  her  husband,  wishing  she 
could  bury  it  in  her  own  bosom.” 

“  The  united  heart  of  both  testifies  before  men  enduring  love — a  subdued  spirit 
before  God.” 

“  The  Three  Graces  (or  Charities)  rightfully  bear  on  their  heads  a  heart  once  the 
seat  of  the  graces  (or  charities) — a  heart  that  aspired  to  the  highest  things.” 

This  monument  formerly  stood  in  the  Chapelle  d’Orleans,  Church  of  the  Celes- 
tins. 


I  32  I . 

COLOSSAL  BUST  OF  DAVID. 

H.  2  ft.  10  in. 

Michael  Angelo  Buonarroti. 

Born,  1475.  Died,  1564. 

This  cast  is  taken  from  the  original  colossal  statue  in  marble,  19  feet  high,  in 
Florence,  representing  David  about  to  hurl  the  stone  at  Goliath. 


1322,  1323. 

THE  PRISONERS,  or  SLAVES. 

H.  7  ft.  3  in.  Original  Marble,  in  the  Louvre. 

Michael  Angelo  Buonarroti. 

These  statues  were  designed  for  a  grand  monument  to  Pope  Julius  11,  planned 
by  M.  Angelo,  but  never  executed.  The  artist  gave  them  to  a  friend  who  had 
nursed  him  in  illness,  and  he  presented  them  to  Francis  1,  who  in  turn  gave  them 
to  the  Constable  Montmorency  for  his  Chateau  d’Ecouen.  During  the  troubles  of 
the  Revolution  in  1793  they  were  found  in  the  stables  of  the  Due  de  Richelieu, 
and  were  bought  for  the  Republic.  They  are  now  in  the  Louvre,  and  are  the 
only  great  works  of  M.  Angelo  in  France.  They  were  taken  to  Florence  in  1875 
to  swell  the  memorials  of  the  sculptor’s  mighty  geniusat  the  centennial  celebra¬ 
tion  of  his  birthday. 


l324- 

CUPID. 

H.  4  ft.  6  in.  Original  Marble,  in  the  Kensington  Museum. 
Michael  Angelo  Buonarroti. 

This  statue  was  brought  from  the  Campagna  Collection. 


120 


CASTS  FROM  THE  RENAISSANCE. 


1325. 

SITTING  STATUE  OF  LORENZO  DE  MEDICI. 

H.  5  ft.  8  in. 

Michael  Angelo  Buonarroti. 

The  original,  in  the  church  of  St.  Lorenzo,  Florence,  with  a  similar  statue  of 
his  brother,  Giuliano,  was  erected  by  order  of  Pope  Leo  X.  Below  them,  on  the 
curved  tops  of  their  sarcophagi,  recline  the  figures  of  Dawn  and  Twilight  under 
Lorenzo,  and  of  Day  and  Night  under  Giuliano.  Reduced  copies  of  these  sym¬ 
bolic  figures,  Nos.  1339  to  1342,  furnish  an  idea  of  the  general  form  of  the  monu¬ 
ments. 

1326. 

HEAD  OF  THE  STATUE  OF  GIULIANO  DE  MEDICI. 

H.  1  ft.  6  in. 

Michael  Angelo  Buonarroti. 

1327. 

MASK  OF  MOSES. 

H.  2  ft.  7  in. 

Michael  Angelo  Buonarroti. 

From  the  original  of  the  colossal  statue  of  Moses,  executed  in  Marble  foi  the 

monument  of  Pope  Julius  II. 

1328. 

BAS-RELIEF  OF  AN  ALTAR-PIECE. 

H.  4  ft.  3  in.  W.  4  ft.  4  in. 

Mino  da  Fiesole. 

Born,  1400.  Died,  i486. 

The  original  of  this  bas-relief  in  marble,  in  the  cathedral  at  Fiesole,  Florence, 
represents  the  Virgin  between  St.  Remigius  and  St.  Leonhard,  with  the  infant 
Jesus  below,  and  St.  John  worshiping  him.  One  of  the  saints  directs  the  sitting 
figure,  holding  a  crutch,  to  the  Saviour. 

1329. 

BUST  OF  BISHOP  L10NARDI  SALUTATI. 

H.  1  ft.  10  in. 

Mino  da  Fiesole. 

From  the  original  marble  monument  in  the  Cathedral  of  Fiesole. 


CASTS  FROM  THE  RENAISSANCE.  121 

'330. 

FIVE  BAS-RELIEFS. 

Each,  H.  2  ft.  7^  in.  W.  2  ft.  5^  in. 

Benedetto  da  Majano. 

Born,  1442.  Died,  1498. 

These  reliefs  are  from  the  marble  pulpit  of  the  Church  of  Sante  Croce,  Florence, 
and  represent  scenes  in  the  life  of  St.  Francis,  as  follows: 


A. 

MARTYRDOM  OF  FIVE  BRETHREN  OF  THE  ORDER  IN  MAURITANIA. 

B. 

DEATH  OF  ST.  FRANCIS. 

c. 

SAINT  FRANCIS  RECEIVING  THE  STIGMATA,  OR  IMPRESS,  OF  THE 
FIVE  WOUNDS  OF  CHRIST. 

D. 

SAINT  FRANCIS  WALKING,  UNINJURED,  THROUGH  FIRE  BEFORE  THE 

SULTAN. 

E. 

POPE  HONORIUS  CONFIRMING  THE  RULES  OF  THE  ORDER  OF 
SAINT  FRANCIS. 


‘331- 

HEAD  OF  ST.  GEORGE. 


Donatello  (Donato  di  Betto  Bardi). 

From  the  marble  statue  of  St.  George,  clad  in  armor,  with  cross-emblazoned  shield 
which  stands  in  an  external  niche  of  Or  San  Michele,  Florence. 


1332. 


BUST  OF  MATTEO  PALMIER!. 
Benedetto  da  Majano. 


CASTS  FROM  THE  RENAISSANCE. 


I  22 


>  333- 

bust  OF  FILIPPO  STROZZI 
Benedetto  da  Majano. 


■  334- 

bust  OF  PIETRO  MELLINI. 

Benedetto  da  Majano. 

Oiiginals  in  Marble  of  the  above  three  busts  are  in  Floience. 


■333- 

day. 

i  536. 
NIGHT. 


■337- 

dawn. 

■338- 

twilight. 

Michael  Angelo  Buonarroti. 

The  above  four  statuettes  are  reduced  copies  from  the  originals  over  the  tomb  ot 
Lorenzo  and  Giuliano  de  Medici,  at  Florence. 


‘339- 

singing  boys. 

Alto-relief.  H.  3  ft.  3  in.  W.  2  ft.  2  in. 

Luca  (Della  Robbia). 

Born  in  1400.  Died,  1481. 

Original,  in  Marble,  in  the  National  Museum,  Florence,  was  made  about  1440 
A.  D.  for  the  balustrade  of  an  organ  loft,  but  never  set  up. 


CASTS  FROM  THE  RENAISSANCE. 


123 


1340. 

ARTHUR,  KING  OF  ENGLAND. 

Dated  1513.  H.  6  ft.  11  in.  Original  in  Bronze. 

The  monument  of  the  Emperor  Maximilian  I  occupies  the  centre  of  the  nave 
of  the  Franciscan  Church,  or  Hofkirk,  at  Innsbruck. 

Maximilian  is  represented  in  a  kneeling  posture  on  a  massive  marble  sarcophagus, 
surrounded  by  28  statues  in  bronze  of  his  heroic  ancestors  in  the  guise  of  mourners 
and  torch-bearers.  Among  these  statues,  and  the  finest  of  all,  stands  that  of  King 
Arthur,  attributed  to  Peter  Vischer,  of  Nuremberg. 


1341. 

THE  VISITATION  OF  THE  VIRGIN  MARY  TO  ST.  ELIZABETH. 
H.  4  ft.  9  in. 

Original  attributed  to  Della  Robbia. 

(In  the  Church  of  San  Giovanni  fuor  Civitas-Pistoria.) 


1342. 

DEATH  AND  TRANSITION  OF  THE  VIRGIN. 

H.  1 1  ft.  2  in.  W.  7  ft.  3  in. 

Andrea  di  Cione  Orcagna. 

Born  near  the  beginning  of  the  Fourteenth  Century. 

The  original  is  a  portion  of  the  Marble  Tabernacle  of  the  Virgin  in  the  Chape! 
of  Or  San  Michele,  Florence. 

1 343- 

PIETA  GROUP. 

H.  5  ft.  10  in. 

Michael  Angelo  Buonarroti. 

Original  Marble,  in  the  Chapel  in  St.  Peter’s,  Rome. 

This  statue  was  produced  by  Michael  Angelo  in  1499  when  he  was  just  twenty- 
five  years  old.  It  is  perhaps  the  most  complete  part  of  modern  sculpture;  genu¬ 
inely  plastic  in  design  and  constructed  with  the  finest  feeling.  The  form  of  the 
nude  figure  of  Christ  is  treated  with  such  justness  and  modesty  that  the  spiritual 
expression  of  the  beautiful  head  obtains  its  full  effect.  The  whole  work,  however, 
culminates  in  the  noble  and  elevated  sorrow  expressed  in  the  countenance  of  the 
mother. 


124 


CASTS  FROM  THE  RENAISSANCE. 


1344- 

saint  JOHN  BAPTIST. 

H.  4  ft.  5  in. 

Benedetto  de  Majano. 

Born,  1442.  Died,  1497. 

Original  in  Marble,  in  the  National  Museum,  Florence. 


'345- 

JUDITH  AND  HOLOFERNES. 

H.  1  7  ft.  6  in. 

Original  Bronze,  in  the  Loggia  de  ’Lanzi,  Florence. 
Donato  di  Betto  Bardi  (Donatello). 
Contemporary  with  Ghiberti.  Died,  1468. 


1346. 

SEPULCHRAL  MONUMENT. 

PORTRAIT  EFFIGY  OF  ILARIA  DEL  CARRETTO. 

H.  3  ft.  10  in.  L.  7  ft.  6  in.  W.  3  ft. 

Jacopo  della  Quercia. 

Original  in  the  Cathedral  of  St.  Martino  at  Lucca. 

Paolo  Giunigi,  for  the  time  being  “Signore”  or  political  master  of  that  city, 
had  lost  his  wife  Ilaria,  daughter  of  the  Marchese  del  Carretto,  and  desired  to  erect 
a  monument  to  her  memory.  This  was  in  1413,  and  Jacopo  della  Quercia  was 
employed  on  the  work.  He  produced  a  rich  example  of  that  type  of  structure,  in 
which  the  effigy  of  the  deceased  reclines  on  a  sarcophagus  supported  on  a  base¬ 
ment  and  over-arched  by  a  decorated  canopy,  which  had  been  first  introduced 
into  Tuscan  art  by  Giovanni  Pisano  in  the  thirteenth  century,  and  survived  with 
little  organic  change,  only  with  the  substitution  of  classical  for  Gothic  forms  of 
design  and  moulding,  until  the  time  of  Andrea  Sansovino  in  the  sixteenth.  But 
within  twenty  years  of  the  completion  of  Jacopo’s  work  the  fury  of  the  Lucchese 
populace  broke  out  against  their  ruler  Giunigi.  He  was  overthrown  and  cast  out 
of  the  city,  and  during  the  outbreak  even  the  monument  he  had  raised  in  honor  of 
his  wife  was  desecrated.  Its  central  figure,  however,  the  recumbent  effigy  of  the 
lady  with  the  carved  sarcophagus  on  which  it  rests,  escaped  destruction,  and  is 
still  to  be  seen  where  it  was  then  deposited,  on  the  floor  of  the  church  near  the 
entrance  to  the  sacristy. 


CASTS  FROM  THE  RENAISSANCE. 


\2^ 


>347- 

BACCHUS. 

H.  4  ft.  8  in. 

Jacopo  Sansovino  (1477-1570). 

Original  Marble,  in  the  National  Museum,  Florence. 

1348. 

ANDROMEDA  DELIVERED  FROM  THE  SEA  MONSTER  BY  PERSEUS. 
H.  2  ft.  10  in.  W.  3  ft.  2  in. 

Benvenuto  Cellini. 

From  the  Bronze  Model  in  the  National  Museum,  Florence. 


"\_ 


\ 


NO.  1504. 


VOLTAIRE. 


HOUDON. 


CASTS  FROM  MODERN  SCULPTURES. 


1 500. 

VENUS  VICTRIX. 

H.  5  ft.  1 1 J4  in.  Original  Marble,  in  London. 

John  Gibson. 

Born  at  Conway,  North  Wales,  1791.  Died  at  Rome,  18 66. 

1501. 

VENUS. 

H.  5  ft.  6 34"  in.  Original  Marble,  in  Florence. 

Antonio  Canova. 

Born,  1757,  in  Possagno,  Venetian  Alps.  Died,  1822. 

I  502. 

VENUS  VICTRIX. 

H.  5  ft.  Original  Marble, - . 

Bertel  Thorwaldsen. 

Born  at  Copenhagen,  1770.  Died,  1844. 

I503- 

CLYT1E. 

4  ft.  1  1 in.  Original  Marble,  in  Peabody  Institute,  Baltimore. 
W.  H.  Rinehart. 

Born,  Frederick  County,  Md.,  1825.  Died  at  Rome,  1874. 

1504. 

VOLTAIRE.  (Sitting  Figure.) 

H.  4  ft.  5  in. 

Original  marble  in  the  vestibule  of  Theatre  Franpais,  Paris. 

Jean  Antoine  Houdon. 

Born  at  Versailles,  1741.  Died,  1828. 


CASTS  FROM  MODERN  SCULPTURES. 


I  SOS- 

BUST  OF  VICE-PRESIDENT  THOMAS  A.  HENDRICKS 
Ulric  S.  J.  Dunbar. 

Born  at  London,  Canada,  1862. 


I  506. 

ALSACE  (Bust). 

Original  Bronze,  by  L.  Gregoire. 
Gift  of  W.  G.  Metzerott. 


'507- 

MURAL  TABLET  TO  PROF.  JOSEPH  HENRY. 

H.  7  ft.  4  in.  W.  4  ft.  1  ]/z  in. 

Original  Marble,  in  the  College  at  Princeton,  N.  J. 
Gift  of  Miss  Henry. 


I  S08. 

ALEXANDER  HAMILTON. 

H.  8  ft.  1  1  in. 

William  Ordway  Partridge. 
Original  Bronze,  in  Brooklyn,  N.  Y. 

Gift  of  the  Sculptor. 

1509. 

INDIAN  HUNTER. 

(1864.) 

H.  5  ft.  6  in. 

J.  A.  Ward. 

Original  Bronze  in  Central  Park,  New  York. 
Gift  of  the  Sculptor. 


CASTS  FROM  MODERN  SCULPTURES. 


129 


ISIO. 

A  STUDY  FROM  NATURE. 

H.  2  ft. 

Ercole  Rosa. 

Gift  of  Prof.  Louis  Amateis,  of  Washington,  D.  C. 

1511- 

HEAD  OF  ST.  JOHN  THE  BAPTIST. 

H.  1  ft.  11  in. 

Antrakosky. 

Gift  of  Prof.  Louis  Amateis,  of  Washington,  D.  ('. 


NO.  2001  . 


LAST  DAYS  OF  NAPOLEON. 


V  FLA . 


MARBLES. 


2000. 

BUST  OF  MR.  CORCORAN. 

Ulric  S.  J.  Dunbar. 

2001. 

THE  LAST  DAYS  OF  NAPOLEON  I. 

Height  of  figure  5  ft.,  with  pedestal  7  ft.  3  in. 

L.  4  ft.  8  in.  W.  3  ft.  3  in.  1871. 

Vincenzo  Vela. 

From  the  John  Taylor  Johnston  Collection. 

2002. 

BUST  OF  COMMODORE  MORRIS,  U.  S.  N. 

J.  C.  King. 

2003. 

BUST  OF  VICE-PRESIDENT  JOHN  C.  BRECKENRIDGE. 
Henry  Kirk  Brown. 

Born  at  Leyden,  Mass.,  1814.  Died  at  Newburgh,  N.  Y.,  1886. 
Gift  of  George  Taylor. 

2004. 

MARBLE  STATUETTE  OF  ECHO. 

H.  2  ft.  10  in. 

Larkin  G.  Meade. 

Born  at  Chesterfield,  N.  FL,  1833. 

2005. 

BUST  OF  ALEXANDER  VON  HUMBOLDT. 
Christian  Rauch. 

Born,  1777.  Died  at  Dresden,  1837. 

Executed  for  Mr.  Corcoran  at  the  particular  request  of  Humboldt. 


MARBLES 


I  }2 

2006. 

COLOSSAL  HEAD  OF  NAPOLEON  I. 

H.  2  ft.  4  in. 

Antonio  Canova. 

A  leplica  by  Canova  of  his  head  of  the  colossal  statue  of  Napoleon  I,  modelled 
from  the  Emperor  at  Paris  in  1805. 

2007. 

STATUE  OF  A  CHILD. 

H.  3  ft.  1  in. 

C.  B.  Ives. 

Gift  of  Hon.  John  B.  Henderson. 

2008. 

BUST  OF  HENRY  CLAY. 

Joel  T.  Hart. 

Born  in  Kentucky,  1810.  Died  in  Florence,  1877. 

200C). 


2010. 

THE  GREEK  SLAVE. 

H.  5  ft.  2  in.  1846. 

Hiram  Powers. 

Born  at  Woodstock,  Vermont,  1805.  Died  at  Florence,  Italy,  1873. 

The  Greek  Slave  was  one  of  the  first  ideal  productions  of  the  artist,  and  it 
brought  him  immediate  fame. 

2011. 

GENEVRA  (Bust). 

Hiram  Powers. 

This  was  the  first  ideal  bust  made  by  Powers,  and  was  executed  in  Florepce  for 
Mrs.  Preston,  as  a  token  of  gratitude  for  the  assistance  given  by  her  husband  to 
the  sculptor. 


MARBLES. 


133 


2012. 

PROSERPINE  (Bust). 

Hiram  Powers. 

The  pedestals  of  both  201 1  and  2012  were  designed  by  Mr.  Poweis. 

2013. 

BUST  OF  WILLIAM  J.  STONE. 

Hiram  Powers. 

Gift  of  Mrs.  E.  J.  Stone. 

2014. 

PENSEROSO  (Bust). 

William  H.  Rinehart. 

Born,  1825.  Died,  1874. 

2015. 

ENDYMION. 

L.  4  ft.  4 ]/z  in.  H.  2  ft.  2  in. 

William  H.  Rinehart. 

2016. 

SLEEPING  CHILDREN. 

L.  3  ft.  H.  1  ft.  4  in. 

William  H.  Rinehart. 

2017. 

BACCHANTE  (Bust). 

Alexander  Galt. 

Born  at  Norfolk,  Va.,  1827.  Died  at  Richmond,  Va.,  1803. 

2018. 


SHAKESPEARE  (Bust). 
(A  copy.) 


MARBLES. 


I  ?4 


2019. 

THE  VEILED  NUN  (Bust). 

(A  copy.) 

2020. 

THE  PERI  AT  THE  GATES  OF  PARADISE 
H.  5  ft.  5  in. 

Thomas  Crawford. 

Born  at  New  York,  1813.  Died  at  London,  England,  1857. 

This  statue  embodies  the  poem  in  “  Lalla  Rookh,”  by  Thomas  Mooie. 

202  1. 

YOUTH  AS  A  BUTTERFLY. 

H.  5  ft. 

E.  Caroni  (Florence.) 

2022. 

FORCED  PRAYER. 

H.  2  ft.  10  in. 

P.  Guarnerio  (Milan). 

2023. 

THE  FIRST  STEP. 

H  2  ft.  5  in. 

Trombetta  (Milan). 

2024. 

ISIS  (Bust). 

Green  basalt. 


BARYE,  ANTOIN  E-LOUIS. 

Born  at  Paris,  1796  ;  died  there  1875. 

“  Barye  belongs  to  the  antique  in  his  knowledge  of  the  structure  of  the  human 
figure  ;  to  the  sixteenth  century  for  his  power  at  grouping  his  characters  in  such  a 
manner  that  from  any  point  of  view  his  composition  shows  to  advantage;  and  to 
his  own  time  in  the  richness  of  his  inspirations,  for  their  occasional  exaggerations 
and  in  the  romantic  impetuosity  of  his  hunting  scenes  and  his  combat[of  animals." 

BRONZES. 

3000  to  3106. 

In  the  Barye  Room. 

This  collection  of  Barye  bronzes  is  believed  to  be  the  largest 

extant. 


156 

3000 

3001 

3002 

3003 

300 4 

3003 

3006 

3°°7 

3008 

3009 

3010 

301 1 

3012 

3013 

3014 

3°'  5 

3016 

3017 

3018 

3019 

3020 

302 1 


BRONZES. 

General  Bonaparte.  (1838.) 

14X  1 3 

Duke  of  Orleans.  (1840.) 

■4X  13 

Amazon,  Costume  of  1830. 

14/4  X  14 

Gaston  de  Foix.  (1833.) 

1434  x  1 i>4 

Charles  VII,  the  Victorious.  (1839.) 

I  1 34  X  10 

Tartar  Warrior  Checking  his  Florse. 

With  bronze  stand,  Arabesque. 

•3/4  x  i3>4 

Two  Arab  Horsemen  Killing  Lion. 

i4>4  X  15 

African  Horseman  Surprised  by  Serpent. 

8  >4  X  10 

Elephant  with  Indian  Mounted,  Crushing 
Tiger. 

ioj4  X 12 

Roger  and  Angelica,  Mounted  on  Hippo- 
griff.  (1846.) 

20x23 

Candelabras  (pair),  with  nine  lights,  dec¬ 
orated  with  six  figures,  mascarons,  and 
chimeras.  (1846.) 

Originals  made  for  Due  de  Montpensier. 

31 

Minerva. 

1 2 

Juno. 

12 

Theseus  and  Minotaur.  (1848.) 

18X  10 

Theseus  and  Centaur.  (1830.) 

1 3  >4  x  14  >4 

Ape  Riding  a  Gnu. 

9X  10 

Two  Young  Bears  Fighting.  (1833.) 

8>4  X  6 

Bear  Sitting. 

5XX6J4 

Beagle  Standing. 

6x8y4 

Wolf  Holding  a  Stag  by  the  Throat. 

8x  17 

Two  Young  Lions  Wrestling. 

8x6 

Lion  Devouring  a  Doe.  (1837.) 

3X11 

3022 

3023 

3°2  4 

3025 

3026 

3027 

3028 

3029 

3030 

3031 

3032 

3033 

3034 

3035 

3036 

3037 

3038 

3039 

3040 

3041 

3042 

3043 

3°44 

3045 

3046 

3047 

3048 

3049 

3050 


BRONZES. 


>  37 


Lion  and  Serpent.  (1832.) 

Lion  Sitting.  (1836.) 

Lioness  of  Senegal. 

Lioness  of  Algiers. 

Lion  Walking.  (1836.) 

Tiger  Walking.  (1836.) 

Tiger  Surprising  an  Antelope. 

Tiger  Surprising  a  Deer. 

Tiger  Devouring  a  Gavial  (Crocodile).  ( 
Tiger  Devouring  a  Gazelle. 

Panther  Seizing  a  Stag. 

Panther  of  India. 

Panther  of  Tunis.  (1840.) 

Panther  Surprising  a  Civet-Cat. 

Jaguar  Walking. 

Jaguar  Standing.  (1840.) 

Jaguar  Sleeping. 

Jaguar  Devouring  Crocodile. 

Ocelot  Carrying  a  Heron. 

Elephant  of  Asia.  (1833.) 

Elephant  of  Africa. 

Horse  Surprised  by  a  Lion.  (1834.) 
Horse,  Half  Blood.  Head  lowered. 
Horse,  Turkish.  Right  foot  raised. 
Horse,  Turkish.  Left  foot  raised. 
Dromedary,  Egyptian.  Reduction. 

Elk  Surprised  by  a  Lynx.  (1834.) 

Deer  Attacked  by  Two  Scotch  Hounds. 
Stag,  Doe,  and  Fawn. 


iox  12 
14X  1 2 

8x  1 1 )4 
8x  1 1  >4 
9x16 
8 x  i6>4 

i3>4  X24 

6)4  x  10 
1831.)  7)4  X  19J4 
5/<X  12 
15X22 
5  X  10)4 

5  JAx  >o)4 

4x9 

4)4x9 

5x9 

3)4x9 

3X9)4 

6  >4  x  1 1  )4 

5x8 
5X7)4 
1 5^  X  15 
7)4  X  1 1  )4 
1  \%  x  12)4 
1 1)4  x  1 2 
5)4  x  6)4 
8  >4  X  1 1)4 
(1833.)  17x21 
9X8)4 


BRONZES. 


138 

3051  Virginia  Deer  Biting  its  Side.  (1837.) 

3032  Bull  on  the  Defensive.  (1841.) 

3033  Bull  Rearing,  Attacked  by  a  Tiger.  (1837.) 
30S4  Bull  Dragged  to  Earth  by  a  Bear.  (1839.) 
305s  Eagle  Holding  a  Heron. 

3056  Crocodile  Devouring  an  Antelope. 

3037  Python  Swallowing  a  Doe.  (1840.) 

3058  Python  Strangling  a  Gazelle. 

3039  Python  Crushing  a  Crocodile.  (1840.) 

3060  Huntsman,  Costume  Louis  XV. 

3061  Bear  Overthrown  by  Three  Mastiffs.  (1833.) 

3062  Bear  Flying  From  Three  Dogs. 

3063  Greyhound  and  Hare. 

3064  Wolf  Walking. 

3063  Greyhound  Reclining. 

3066  Buffalo  of  Egypt. 

3067  Camel.  (Head  turned  to  right. ) 

3068  Greyhound  Sleeping. 

3069  African  Badger  Robbing  Nest. 

3070  Lion  of  the  Column  of  July.  (1838.)  Bas- 

relief. 

3071  Warrior  of  the  Caucasus. 

3072  Peasant.  (Mediaeval.) 

3073  Leopard  Crouching. 

3074  Deer.  (Axis.) 

3073  Deer  of  the  Ganges. 

3076  Bull  Standing.  (Small.) 

3077  Card  Receiver.  Fawn’s  Feet. 

Ornamented  with  grapes. 


IOX  14 
7X  1 1  )4 
9x11 

3)4  X  1 1 
1 2 x  1 2)4 
6)4  x  14 

3) 4  X  io)4 

6x13 

6) 4  X  io)4 

7)4X7 
iox  1 3)4 
12x18 
8x13 
9X  14 

2) 4  x  10 

6x8 

4) 4  X  4)4 

7) 4  X  13)4 

4x6 

8) 4  x  1 6)4 
7)4  X  6)4 

12x10 
3x7 
5X5)4 
6)4  X  6)4 

3) 4  X  5)4 
3)4  x  7)4 


BRONZES. 


>39 


3078  Card  Receiver. 

Ornamented  with  owls  and  panthers’  heads. 

3079  Candlestick.  (Two  lights.) 

Ornamented  with  owls  and  panthers’  heads. 

3080  '  Candlestick. 

Ornamented  with  owls  and  panthers’  heads. 

3081  Candlestick. 

Greek  designs  with  Syracuse  medallions. 

3082  Candlestick,  with  Fawn’s  Feet. 

Ornamented  with  bell  flowers  and  serpents. 

3083  Candlestick. 

Ornamented  with  bell  flowers,  leaves,  and  scarabei. 

3084  Candlestick.  Small,  with  Handle. 

Ornamented  with  ivy  leaves. 

3085  Perfume  Burner. 

Ornamented  with  chimeras. 

3086  Paroquet  Seated  on  a  Tree. 

3087  Pheasant  Walking.  Head  turned  to  left. 

3088  Pheasant  Walking.  Head  turned  to  right. 

3089  Wolf  Caught  in  a  Trap. 

3090  Virginia  Deer.  Left  foot  raised. 

3091  Doe  Reclining.  (Dated  1840.) 

3092  Fawn  Reclining.  (Dated  1840.) 

3093  Rabbits,  Group.  (Two.) 

3094  Turtle. 

3093  Crocodile. 

3096  Candelabras  (pair),  with  three  lights,  An¬ 

tique  design,  ornamented  with  serpent, 
leaves,  chimeras,  claw  feet,  and  sur¬ 
mounted  with  storks. 

3097  Theseus  and  Centaur.  (1850.) 


3/2X7 

iox  10 

7  X  3/ 

10x4/ 

9/X3/ 

12/X3K 

3Mx  4/ 

4x2/ 

7^X3 

4^X8/ 

4^X8/ 

4/X3 
6/  X  6 
3/X5/ 
1  Y\  x  4/ 
2x3/ 
1/X4 
1/X7  H 

31/ 
SOX  4  I 


140 

BRONZES. 

3098 

Jaguar  Devouring  a  Hare.  (1850.) 

1  S)4  X  38 

3099 

Leopard.  Bas-relief.  (1831.)  Bronze 
frame. 

3X5)4 

3100 

Panther.  Bas-relief.  (1831.)  Bronze 
frame. 

3)4  x  6)4 

3101 

Virginia  Deer,  with  Antlers.  Bas-relief. 
(1831.) 

4x5)4 

3102 

Genet  Carrying  a  Bird.  Bas-relief.  Bronze 
frame.  (1831.) 

3x5 

3103 

Axis. 

4)4  X6X 

3104 

Tiger  Hunt. 

Water-color  sketch. 

3105 

Sleeping  Lions. 

Water-color  sketch. 

3105)4 

Bear  Erect. 

3106 

Bust  of  John  C.  Calhoun. 

H.  25  in. 

Clark  Mills,  1850. 

The  original,  in  plaster,  was  taken  from  life  by  Mr.  Mills  in  184=,. 

3107  Japanese  Yoshitaure  Vase. 

6 1 3^x26  in. 

This  vase  takes  its  distinctive  title  from  its  bas-reliefs  of  scenes  in 
the  life  of  the  Japanese  hero,  Yoshitaure.  Within  the  vase  is  a  brazen 
vessel  for  fire,  and  the  perforated  upper  section  is  a  censer,  surmounted 
by  the  god  Hohodermi,  who,  descending  into  Japan  standing  on  a 
dragon,  introduced  letters  and  writing. 

From  the  Centennial  Exhibition  of  1876. 


3108  Statuette  of  Augustus  Caesar. 

H.  36  in. 
Boschetti. 


BRONZES. 


3109  Bust  of  Washington. 

H.  18X  >n. 

Clark  Mills,  1849. 

From  Houdon’s  original  bust,  in  plaster,  1785. 
Presented  by  Mr.  Mills. 

31 10  Bust  of  Dr.  James  C.  Hall. 

H.  iiy2  in. 

H.  K.  Bush  Brown,  1880. 


14  I 


3  m  Statuette  of  a  Cow. 

9X  14  in. 

H.  K.  Bush  Brown,  1883. 

The  two  bronze  lions  in  front  of  the  main  entrance  to  the  gallery 
are  copies  from  the  originals  in  marble  by  Antonio  Canova  at  the 
monument  of  Pope  Clement  XIII,  St.  Peter’s,  Rome. 


;ii2  Bust  of  George  Yost  Coffin. 

H.  28  in. 

Henry  J.  Ellicott. 

Gift  of  Mrs.  Mary  A.  Yost,  of  Pottstown,  Pa. 


CLOISONNE. 


3500  Square  Table,  with  Cloisonne  top.  1 6th  century. 

From  the  Centennial  Exhibition,  1876. 

3501  Cloisonne  Vase.  1 6th  century.  H.  20  in. 

From  the  Centennial  Exhibition,  1876. 

3502  Cloisonne  Vase.  1 6th  century.  H.  20  in. 

From  the  Centennial  Exhibition,  1876. 

3503  Cloisonne  Enamel  Dish,  representing  St.’  George  and 

the  Dragon,  on  enamelled  stand,  with  pedestal  of 
golden  bronze.  (In  Case  B.) 

From  the  Centennial  Exhibition,  1876. 

3504  Cloisonne  Plate,  small,  enamelled  on  both  sides,  on 

bronze  stand.  Subject:  “Puck.”  (In  Case  B.) 

From  the  Centennial  Exhibition,  1876. 

3S03  Cloisonne  Plate,  small,  enamelled  on  both  sides,  on 

bronze  stand.  Subject:  “Puck.”  (In  Case  B.) 

From  the  Centennial  Exhibition,  1876. 


* 


A 


VIEW  OF  ELECTROTYPE  ROOM. 


PORCELAINS  AND  GLASS 


4000  Japanese  “  Arita  ”  Porcelain  Vase. 

H.  8  ft.  8  in. 

4001  Japanese  “Arita”  Porcelain  Vase. 

H.  8  ft.  8  in. 

These  examples  of  the  ceramic  art  of  Japan  were  made  in  the  factory 
ofT.  Tawara,  at  Arita,  Japan,  expressly  for  the  Centennial  Exhibition. 

4002 

4003 

4004  Prometheus  Vase. 

H.  4  ft.  (Majolica.) 

Milton,  England. 

4005  Majolica  Vase,  with  Japanese  decorations. 

H.  4  ft. 

4006  Majolica  Vase,  with  Japanese  decorations. 

H.  4  ft. 

These  two  vases,  modern  imitations  of  the  pottery  of  the  Moors, 
were  made  by  Deck,  of  Paris. 

4007  Sevres  Vase. 

H.  2  ft.  2  in. 

4008  Plaque  of  Stone  Porcelain,  with  decorations  of  Poultry, 

Vegetables,  etc. 

H.  2  ft.  1 1  in.  W.  1  ft.  4  in. 

Schopin,  England. 

4009  Plaque  of  Stone  Porcelain,  with  decorations  ot  Fish. 

H.  2  ft.  1 1  in.  W.  i  ft.  4  in. 

Schopin,  Paris. 


144  PORCELAINS  AND  GLASS. 

4010  “Arita.”  Porcelain  Japanese  Vase. 

H.  7  ft.  W.  i'/z  ft. 

From  the  Centennial  Exhibition,  1876. 

40 1 1  Japanese  Porcelain  Bowl. 

Diameter  3  ft.  Depth  7  in. 

From  the  Centennial  Exhibition,  1876. 

4012  Engraved  Glass  Magnum  Bonum  Claret  Jug.  Subject: 

A  Fox  Hunt. 

H.  1  ft.  4'/2  in.  W.  9  in. 

From  the  exhibit  of  John  Miller  &  Co.,  of  Edinburgh, 'Scotland,  at 
the  Centennial,  Philadelphia,  1876.  (In  Case  B.) 


ELECTROTYPE  REPRODUCTIONS. 


CASE  A. 

THE  HILDESHEIM  TREASURES. 

Electrotyped  by  Chrisiofle  &  Co.,  Paris. 

These  are  electrotype  reproductions  of  ancient  vessels  found  on  the 
site  of  a  Roman  camp,  near  Hildesheim,  Hanover. 

On  the  17th  of  October,  1868,  some  soldiers,  while  digging  near 
their  camp  on  the  slope  of  Galgen,  found,  at  the  depth  of  ten  feet, 
some  bits  of  metal  that  proved  to  be  silver.  Further  search  discovered 
two  large  bell-shaped  vases  or  bowls,  inverted,  under  which  were 
other  vessels  and  fragments,  strangely  heaped  together,  tire  feet  and 
handles  being  detached  from  the  vessels  to  which  they  belonged,  and 
all  much  corroded  by  the  infiltration  of  a  wet  soil. 

They  were  restored  by  an  expert  as  nearly  as  possible  to  their 
original  condition,  and  subsequently  taken  to  the  Royal  Museum  at 
Berlin.  Their  discovery  made  a  great  sensation,  and  it  was  at  first 
supposed  that  the  original  Treasures  were  part  of  the  dinner  service  of 
Varus,  the  Roman  General,  who  was  defeated  by  the  Germans,  under 
Arminius,  near  Hildesheim,  in  the  year  A.  D.  9,  but  the  style  of  some 
of  the  pieces  was  so  evidently  of  a  later  date  that  the  idea  is  now 
abandoned.  The  design  and  workmanship  of  most  of  them  certainly 
show  their  extreme  antiquity. 

4180  Large  Minerva  Bowl  (Patera). 

4181  Bowl,  with  Hercules  Strangling  the  Serpents. 

4182  Bowl,  with  Deus  Lunus  wearing  the  Phrygian  cap  with 

horns  of  crescent. 

4183  Bowl,  with  Cybele  with  mural  crown. 

4184  Large  Drinking  Bowl  (Oxybaphon). 

4185  Drinking  Cup,  with  four  masks  of  Bacchants. 

4186  Drinking  Cup,  with  six  masks  of  Fauns. 

4187  Drinking  Cup,  with  ten  masks,  with  scenic  accessories. 

4188  Drinking  Cup,  with  garlands. 

4189  Drinking  Cup,  with  laurels. 


146  ELECTROTYPE  REPRODUCTIONS. 

4190  A  Cup,  with  handles  of  leaves  of  acanthus  and  flowers. 

4191  Egg  Dish. 

4192  Salt-Cellar  for  Egg  Dish,  with  carved  exterior. 

4193  Saucepan,  handle  with  water  lilies. 

4194  Saucepan,  handle  with  leaf  of  ivy. 

4195  Saucepan,  with  handle  knotted. 

4196  Saucepan,  with  handle  of  palm  leaves. 

4197  Ladle,  with  handle  of  palm  leaves. 

4198  Ladle,  with  handle  of  ivy  branch. 

4199  Salt-cellar,  with  ivy  leaves. 

4200  Salt-cellar,  with  ivy  leaves. 

4201  Olive  Bowl,  with  three  carved  feet. 

4202  Turnip  Dish. 

4203  Duck  Dish. 

4204  Tripod,  base  of  a  candelabrum. 

4203  Support,  with  head  of  Bacchus;  part  of  a  tripod. 

4206  Handle  of  a  Vase. 

4207  Claw  of  Tripod,  with  head  of  Jupiter. 

4208  Conical  Cup,  with  rude  carvings  of  animals. 

4209  Large  round  Dish,  bordered  with  foliage,  birds,  and 

squirrels. 

CASE  B. 

Reproductions  of  objects  chiefly  in  the  South  Kensington  Museum ,  London. 
Electrotyped  by  Elhington  &  Co.,  Birmingham. 

4210  Grand  Cup  and  Cover.  Copper-gilt.  German,  1 6th 

Century. 

Original  of  silver-gilt,  in  Gratz,  Styria.  II.  3  ft.  4*4  in. 

4211  Chalice.  Spanish,  1340. 

Original,  silver-gilt. 


ELECTROTYPE  REPRODUCTIONS. 


>47 


4212  Tankard.  German,  1605.  A  cock  on  top. 

Original,  silver-gilt. 

4213  Bedford  Tankard.  Italian,  1 6th  Century.  Triumph  of 

Bacchus. 

Original  in  ivory  and  silver. 

4214  Shrine  or  Cover  of  St.  Patrick’s  Bell.  Irish,  nth  Cen¬ 

tury. 

Original  in  copper,  gold,  and  jewels,  in  possession  of  Rev.  Dr. 
Todd.  The  back  is  silver  perforated  with  crosses,  surrounded  by 
Irish  characters.  The  bell,  of  sheet  iron,  enclosed  in  the  original, 
is  reputed  to  be  of  the  4th  Century. 

42 is  Pyx  or  Pix.  Portuguese,  17th  Century.  For  holding 
the  consecrated  wafer. 

Original,  silver-gilt. 

4216  Tankard.  German,  17th  Century. 

Original,  silver-gilt. 

4217  Tazza  or  Cup.  French,  17th  Century.  Subject:  Death 

of  Meleager. 

Original,  silver-gilt. 

4218  Tazza.  German,  17th  Century.  Silver  oxydized.  Sub¬ 

ject:  Judgment  of  Solomon. 

Original  of  silver. 

4219  Tankard.  German,  17th  Century. 

Original,  silver-gilt. 

4220  Tankard.  German  or  French,  1 6th  Century. 

4221  Salt-cellar.  Italian,  15th  Century. 

Original,  silver-gilt. 

4222  Salt-cellar.  German,  1580. 

Original,  silver-gilt. 

4223  Salt-cellar.  German,  1 6th  Century. 

Original,  silver-gilt. 

4224  Salt-cellar.  German,  1 6th  Century. 

Original,  silver-gilt. 

4225  Salt-cellar.  German,  1 6th  Century. 

Original,  silver-gilt. 


148 


ELECTROTYPE  REPRODUCTIONS. 


4226 

4227 

4228 

422C) 

4230 

4231 

4232 

4333 

4234 

4235 

4236 

4237 

4238 

4239 

4240 


Inkstand.  Italian,  1 6th  or  17th  Century. 

Original,  silver-gilt. 

Knife.  French,  1 7th  Century.  Gilt,  handle  in  imitation 
of  carved  ivory. 

In  the  collection  of  R.  Napier. 

Fork.  French,  17th  Century.  Gilt,  handle  in  imitation 
of  carved  ivory. 

In  the  collection  of  R.  Napier. 

Spoon.  French,  17th  Century.  Gilt,  handle  in  imita¬ 
tion  of  carved  ivory. 

In  the  collection  of  R.  Napier. 

Candlestick.  Italian,  1 6th  Century. 

Original,  in  bronze. 

Inkstand  or  Perfume-burner.  Copper-bronze.  Italian, 
15th  Century.  With  statuette  of  Hannibal. 

Plate.  German,  1 6th  Century.  With  medallions  of  Em¬ 
perors. 

Plate.  German,  1 6th  Century.  Subject:  Adam  and  Eve. 

Plate.  German,  16th  Century.  With  arms  of  Swiss 
Cantons. 

Cup  and  Cover.  English,  1638. 

Original  of  silver. 

Cup  and  Cover.  English:  Hall-mark,  1676. 

Original  of  silver. 

Incense-holder.  Spanish,  about  1S40-15S0.  Inscribed 
with  “  Oratio  men  dirigatur  sicut  incensum." 

Original  in  rock  crystal,  mounted  in  silver-gilt. 

Beaker.  On  three  ball  feet.  Augsburg. 

Original,  silver  parcel-gilt . 

Goblet.  German,  17th  Century. 

Original,  silver-gilt. 

Tankard  and  Cover.  German,  17th  Century.  Man  slay¬ 
ing  a  Centaur  on  top,  with  Bacchanalian  group  below. 

Original  in  carved  ivory  and  silver,  by  Bernard  Strauss. 


ELECTROTYPE  REPRODUCTIONS. 


149 


4241  Goblet.  (Agate.)  English:  Hall-mark,  1567. 

Original,  silver-gilt. 

4242  Goblet.  Russian,  17th  Century.  Medallions  of  the 

Seasons. 

Original  silver-gilt. 

4243  Beaker.  Russian,  1 6th  or  17th  Century. 

Original  in  silver  parcel-gilt. 

4244  Cocoa  Cup.  German,  1585. 

Original,  silver-gilt. 

4245  Augsburg  Ewer. 

Original,  silver-gilt,  in  the  Louvre.  Commemorates  the  siege  ol 
Algiers  by  Charles  V. 

4246  Pax.  For  communicating  the  kiss  of  peace.  Represents 

the  Virgin  giving  a  vestment  to  St.  Ildefonso.  Span¬ 
ish,  1540. 

Original,  silver-gilt. 

4247  Bottle.  In  form  of  Pilgrim’s  flask.  French  or  German, 

17th  Century. 

Original  of  silver. 

4248  Entombment  of  Christ.  Bas-relief  after  Donatello. 

Italian,  1  5th  Century. 

Original,  in  bronze,  in  Vienna. 

4249  Bowl,  with  Cover.  Arabesque. 

Original  in  brass,  damascened. 

4250  Bowl,  with  Cover.  Arabesque. 

Original  in  brass,  damascened. 

4251  Plaque.  Entombment  of  Christ.  Spanish,  17th  Cen¬ 

tury. 

4252  Bowl.  French,  about  1330. 

Original,  silver. 

4253  Bowl.  French,  about  1330. 

Original,  silver. 

4254  Plateau.  Italian,  1820. 

Silver  oxydized. 

4253  Bowl.  Arabesque,  14th  Century. 

Original,  brass,  damascened. 


ELECTROTYPE  REPRODUCTIONS. 


150 

4256  Bucket.  Arabesque,  14th  Century. 

Original,  brass,  damascened. 

4257  Nautilus  Shell.  Mounted  in  metal.  Italian,  1 6th  Cen¬ 

tury.  Supported  by  seated  Naiad.  Sirens  below. 

42^8  Ewer.  Dragon  handle,  with  Roman  subjects.  Italian, 
1 6th  Century. 

4259  Tazza.  Representing  the  Deluge.  Italian,  1 6th  Cen¬ 

tury. 

4260  Salver.  Portuguese,  1  sth  Century.  Figures  in  high  re¬ 

lief. 

Original  in  silver-gilt. 

4261  Cup.  English,  1720. 

Original  of  silver. 

4262  Tazza.  Italian,  1 6th  Century.  Classical  figures  at¬ 

tributed  to  Benvenuto  Cellini. 

Original  in  the  Louvre. 

4263  Candlestick  (Base  only).  Arabesque. 

Original,  brass,  damascened. 

4264  Candlestick.  Venetian,  1 6th  Century.  Persian  or  Mo¬ 

resque  design. 

Original  in  bronze. 

4265  Plateau.  Dutch,  about  1690. 

Original  in  silver. 

4266  Ewer.  Venetian,  1 6th  Century. 

Original  in  brass-gilt. 

4267  Tazza  and  Cover.  French,  1831. 

Original,  silver  and  jewelled,  parcel-gilt. 

4268  Vase  and  Cover.  English,  177 2.  A  boy  on  top;  handles 

of  Satyr  heads. 

Original,  silver-gilt. 

4269  Mirror-case  or  Martelli  Bronze.  Italian,  1  sth  Century. 

Allegory  of  Productiveness,  with  a  legend. 

Original  of  bronze,  inlaid  with  silver. 

4270  Incense-burner.  Belgian,  18s  1.  Arabesque. 

Original  of  iron,  damascened  by  Falloise,  of  Liege. 


ELECTROTYPE  REPRODUCTIONS.  I  5  I 

4271  Tankard  and  Cover,  in  fictile  ivory,  mounted  in  metal, 

parcel-gilt.  Same  subject  as  No.  3240  (which  see),  but 
as  the  original  was  of  carved  ivory,  this  is  a  more  ex¬ 
act  imitation  of  it.  17th  Century. 

4272  Bowl,  with  Cover.  Arabesque. 

Original  of  brass,  damascened. 

4273  Bowl,  with  Cover.  Arabesque. 

Original  of  brass,  damascened. 

4274  Tazza.  Italian.  Silver  oxydized. 

By  Lionnet,  Paris.  Same  subject  as  No.  3275,  by  B.  Cellini. 

4275  Tazza.  Italian.  Silver  oxydized. 

By  Lionnet,  Paris.  Original  by  B.  Cellini,  in  the  Louvre. 

4276  Gilt  and  Oxydized  Emperor’s  Tankard. 

From  the  Centennial  Exhibition,  Philadelphia,  1876. 

CASE  C. 

Electrotypes  by  Elkington  &■  Co. 

4277  Small  Shield.  Benvenuto  Cellini. 

Silver  oxydized. 

4278  Salver.  Italian,  1 6th  Century,  illustrating  the  siege  of 

Tunis  by  Charles  V.  1535. 

Original  in  the  Louvre,  Paris. 

4279  Spiked  Shield  of  Francis  I,  1 6th  Century. 

Original  in  the  Museum  of  Artillery,  Paris.  Electrotyped  by  Lionnet, 
Paris. 

4280  Helmet  of  Francis  I.  1543. 

Original  in  the  Museum  of  Artillery,  Paris. 

4281  Sword  of  Francis  I. 

Original  in  the  Museum  of  Artillery,  Paris.  Electrotyped  by  Lionnet, 
Paris. 

4282  Head-piece.  Italian,  1 6th  Century.  Marine  genii  hold¬ 

ing  a  warrior’s  head,  whose  body  forms  the  crest. 
Silver  oxydized. 

Original  in  the  Museum  of  Artillery,  Paris. 


ELECTROTYPE  REPRODUCTIONS. 


152 

4283  Head-piece.  Italian,  1 6th  Century.  David  and  Goliath 

on  one  side.  Silver  oxydized. 

Original  in  the  Museum  of  Artillery,  Paris. 

4284  Hannibal  Dish.  German,  1567,  with  Roman  figures. 

428s  Salver.  Arabesque,  with  Moresco  chasings. 

4286  Salver.  Italian,  1 6th  Century.  Arabesque. 

Original  in  brass-gilt. 

4287  Salver.  Venetian,  1 6th  Century,  with  battles  and  sieges. 

Original  in  bronze-gilt. 

4288  Salver.  Italian,  1 6th  Century.  Medallions. 

Original  in  brass-gilt. 

4289  Salver.  English,  1719-20. 

Original  of  silver. 

4290  Bowl  or  Plateau.  Moorish. 

Original  of  brass. 

4291  Gilt  and  Oxydized  Dish,  representing  the  months  of  the 

year. 

4292  Gilt  and  Oxydized  Dish,  representing  the  months  of  the 

year. 

From  the  Centennial  Exhibition. 

4293  Shakspeare  Dish.  Containing  medallion  of  Shakspeare, 

10  inches  in  height,  surrounded  by  scenes  from  his 
various  plays. 

From  an  old  repousse  plate  in  the  South  Kensington  Museum. 
Artist  and  history  of  it  unknown. 


CASE  D. 


4294  Shield. 

From  the  Milan  Museum. 


4295  Shield. 

From  the  Turin  Museum. 

4296  Bourgignotte  Helmet. 

Museum  of  Artillery,  Paris. 

4297  Cap  of  a  Doge. 

Museum  of  Artillery,  Paris. 


4298 

4299 

4300 

4301 

43°2 

4303 

4304 

4303 

4306 

4307 

4308 

4309 

4310 


ELECTROTYPE  REPRODUCTIONS.  155 

Shield.  French,  15th  Century.  Medallions  of  David 
and  Judith. 

Breast-plate. 

Milan  Museum. 

Shield  of  Henry  II,  France. 

Museum  of  the  Louvre,  1 547~’59- 

Statuette  of  Henry  IV  of  France  when  a  boy. 

By  Bosio. 

Original  of  silver,  in  Museum  of  the  Louvre. 

Shield. 

Museum  of  Cluny. 

Sword  of  the  Duke  of  Savoy. 

Turin  Museum. 

Pieces  of  Horse  Armor. 

Museum  of  Lyons. 

Cannon.  Renaissance. 

Attributed  to  Germain  Pilon. 

Museum  of  Artillery,  Paris. 

Axe  of  King  John,  France.  1350-64. 

Museum  of  Artillery,  Paris. 

Suit  of  Armor  of  Henry  II,  France. 

Museum  of  the  Louvre,  1  547— ’59 . 

Attributed  to  Germain  Pilon,  the  sculptor. 


NOT  IN  CASES. 

Column  of  the  Place  Vendome,  Paris. 

(Miniature  reproduction.)  H.  5  ft.  3  in. 

Suit  of  Armor  in  nineteen  pieces.  Italian,  1 6th  Century. 

Original  in  the  Museum  of  Artillery,  Paris. 

The  Milton  Shield. 

Reproduced  by  Elkington  &  Co. 

Oval.  H.  2  ft.  10  in.  W.  2  ft.  2  in. 

The  original  was  designed  and  wrought  in  silver  and  steel  repousse 
by  M.  Morel  Ladeuil,  England,  for  the  Paris  Exposition  of  1867. 
The  British  Government  bought  it  for  the  Kensington  Museum 
for  $15,000.  It  represents  scenes  from  Paradise  Lost. 


ELECTROTYPE  REPRODUCTIONS. 


I  54 

431 1  The  Pompeiian  Toilet. 

Circular.  W.  20  inches. 

Reproduced  by  Elkington  &  Co.  from  the  original  work  ( repousse ) 
in  silver,  with  damascened  tracery  in  gold  and  silver,  by  M. 
Ladeuil. 

431 2  Statuette  of  the  Emperor  William  I,  of  Germany. 

H .  3  ft. 

4313  Statuette  of  the  Emperor  Frederick  I,  of  Germany. 

H.  3  ft. 

From  the  Centennial  Exhibition,  1876. 

43 '4 

4313  Knocker.  Copper-bronze. 

H.  1  ft.  2 y2  in.  W.  i  ft.  1  in.  17th  Century. 

Original  in  the  Kensington  Museum.  Attributed  to  John  of  Bologna. 

4316  Statuette  of  Christ. 

H.  3  ft.  in. 

4317  Statuette  of  John  the  Baptist. 

H.  3  ft.  ^y2  in. 

(Reproductions  by  Elkington  &  Co.  from  the  original  by  John  of 
Bologna  in  the  Cathedral  of  Pisa.) 

4318  Monument  to  Frederick  William  of  Brandenburg,  the 

“  Great  Elector.  ”  1620-1688. 

H.  2  ft.  2  in.  Reduction  of  the  monument  in  bronze  by  A. 

Schluter.  Berlin,  1703. 

From  the  Centennial  Exhibition,  1876. 

4319  Monument  to  Frederick  II,  the  Great,  of  Prussia. 

H.  5  ft.  2  in.  Reduction  of  the  original  bronze  work  in  Berlin  by 
Christian  Rauch,  1851.  From  the  Centennial  Exhibition. 

4320  Bronze  Plaque.  “Taking  the  Guns  into  Action  at 

Colenso.  ” 

H.  1  ft.  7  in.  W.  3  ft.  5  in.  From  the  original.  Executed  by 
Onslow  Whiting. 

Gift  of  Alfred  Mosely,  C.  M.  G.,  of  Fladley  Wood,  England. 


INDEX  OF  ARTISTS. 


Achenbach,  Oswald, 

No. 

-  '49 

Davis,  Charles  H., 

z 

00 

Aivasovsky,  J., 

- 

118,  119 

Daubigny,  Charles  F., 

-  -  83 

Andrews,  E.  F.,  209, 

217, 

21 9,  244 

De  Marne,  Jean  L. ,  - 

no,  111 

Bail,  J.  A., 

- 

-  106 

Desgoffe,  Blaise  A.,  - 

-  148 

Baker,  George  A., 

- 

-  130 

Detaille,  J.  B.  E. , 

63,  137,  '73 

Barney,  Alice  C., 

- 

-  .85 

De  Wentworth,  Cecile, 

-  188 

Becker,  Carl, 

- 

102 

Dewey,  Charles  M.,  - 

-  50 

Bierstadt,  Albert, 

- 

46 

Diaz,  Narcisse  Virgile, 

-  96 

Bjorek,  Oscar,  - 

- 

-  '  '3 

Doughty,  Thomas,  - 

1 3;  '  5 

Bonham,  Horace, 

- 

-  39 

Dunraresq,  Armand,  - 

-  '55 

Bonheur,  Marie  Rosa, 

- 

-  181 

Duplessis,  Joseph  S., 

-  -  238 

Boughton,  George  H., 

- 

4,  18 

Dupre,  jules, 

-  88 

Bouquet,  Michel, 

- 

-  163 

Durand,  Asher  B., 

26,  266 

Braeckeleer,  Ferdinandus  de, 

1 1 5,  11 6 

Eastman,  Seth, 

-  1 36 

Brenner,  Carl  C., 

- 

121 

Elder,  John  A., 

-  237,  239 

Breton,  Emile  A., 

- 

99)  i52 

Elliott,  Charles  L.,  1, 

125,  230,  232, 

Breton,  Jules  A., 

- 

-  IOI 

233,  236,  264 

Bridgman,  Frederick  A., 

- 

20 

Faed,  John, 

-  91 

Brooke,  Richard  N.,  - 

- 

7 

Frere,  Edouard, 

-  103 

Brown,  John  G., 

- 

■6,  57 

FreyJ.J., 

107,  108 

Brown,  W., 

- 

-  '3' 

Fuller,  George, 

-  140 

Brush,  George  de  Forest, 

- 

-  .87 

Gericault,  J.  L.  A.  T  , 

-  183 

Burnier,  Richard, 

- 

-  75 

Gerome,  Jean  L., 

-  '57 

Casilear,  John  W., 

- 

-  47 

Gifford,  Sanford  R.,  - 

-  3' 

Cazin,Jean  C., 

- 

97,  '75 

Gignoux,  Regij, 

14 1 

Chase,  Harry,  - 

- 

21 

Gotthold,  Florence,  - 

1 22 

Chase,  William  M.,  - 

- 

-  186 

Gray,  Henry  P., 

10 

Chialiva,  Luigi, 

70 

,  7',  '79 

Grayson,  Clifford  P., 

-  25 

Chierici,  Gaetano, 

- 

-  62 

Gutherz,  Carl,  - 

-  227 

Church,  Frederick  E  , 

- 

24,  167 

Guillaume,  Louis  M., 

-  262 

Cole,  Thomas,  - 

- 

2,  3,  6 

Hall,  George  H., 

-  164 

Collette,  A., 

- 

1 20 

Harding,  Chester, 

-  261 

Comte,  Pierre  C., 

- 

-  66 

Harrison  Thos.  Alexander,  -  5 

Corot,  J.  B.  C., 

- 

-  92 

Hart,  James  M., 

-  28 

Costaggini,  Fillippo,  - 

- 

252 

Hayes,  William  J.,  - 

-  '59 

Courier,  E.  G.,  - 

- 

60,  129 

Healy,  G.  P.  A.,  200, 

201,  202,  203, 

Courbet,  Gustave, 

- 

-  87 

204,  205,  206,  207, 

208,  2  10,  2  !  I , 

Couture,  Thomas, 

- 

1 12 

213,  214,  215,  216, 

221,  231,  243, 

Cranch,  Christopher  P., 

- 

-  '45 

247,  253,  268 

Gropsey,  Jasper  F.,  - 

- 

-  166 

Heilbuth,  Ferdinand, 

-  8l 

156 

INDEX  OF 

ARTISTS. 

No. 

No. 

Helmick,  Howard, 

- 

- 

168 

Neubert,  Louis, 

- 

142 

Henner,  Jean  Jacques, 

- 

- 

73 

Nicol,  Erskine,  - 

- 

61 

Henry,  Edward  L.,  - 

- 

- 

5& 

Oddie,  W.  M., 

- 

'34 

Hildebrandt,  Edouard, 

- 

- 

1 14 

Pauwels,  Ferdinand,  - 

- 

95 

Hubard,  William  J.,  - 

- 

- 

240 

Peale,  James,  - 

- 

170 

Huntington,  Daniel,  54, 

235, 

257, 

259 

Peale,  Rembrandt,  - 

-  246, 

250 

Inman,  Henry,  - 

- 

- 

226 

Peixotto,  G.  Da  M.,  - 

- 

249 

Inness,  George, 

27> 

l6l 

Peretti,  B., 

- 

127 

Isabey,  Eugene  Louis, 

- 

- 

67 

Picknell,  William  L., 

- 

53 

Jackson,  John,  - 

- 

- 

248 

Portaels,  Jean  F., 

- 

'47 

Japy,  Louis  A. , 

- 

64 

,  72 

Porter,  Benjamin  C., 

- 

8 

Jeannin,  George  C.,  - 

- 

- 

I  32 

Preyer,  Johann  W.,  - 

- 

105 

Jefferson,  Joseph, 

- 

- 

163 

Priou,  Louis, 

- 

1 33 

Johnson,  Eastman, 

- 

- 

160 

Ranger,  H.  W ., 

- 

44 

Jones,  H.  Bolton, 

- 

- 

55 

Ranney,  William, 

- 

37 

Kaemmerer,  Frederick  H. 

'  ) 

- 

65 

Rebouet,  Alboy, 

- 

7s 

Kensett,  John  F. , 

19 

,  23, 

1  62 

Reinhart,  Charles  Stanley, 

1 

42 

King,  Charles  B., 

- 

231, 

258 

Renouf,  Emile,  - 

- 

117 

Knaus,  Ludwig, 

- 

- 

90 

Richard,  Emma  G.,  - 

- 

242 

Lachenwitz,  F., 

- 

- 

'43 

Richards,  William  T., 

12,  178, 

180 

Lazarus,  Jacob  H., 

- 

'4. 

203 

Rico,  Martin, 

100 

Le  Clear,  Thomas, 

- 

- 

245 

Robbe,  Louis,  - 

- 

1 35 

Le  Roux,  Hector, 

- 

- 

68 

Robinson,  Theodore, 

- 

45 

Le  Roux,  L.  Eugene, 

- 

- 

1  56 

Rossiter,  Thomas  P., 

- 

36 

Leutze,  Emanuel, 

- 

22 

.  3° 

Saint  Jean,  Simon, 

- 

76 

Loir,  Luigi, 

- 

- 

172 

Saint  Pierre,  Gaston  C., 

- 

86 

Loustaunau,  Louis  A., 

- 

- 

77 

Salmson,  Hugo  F.,  - 

- 

1 40 

Maccari,  Cesare, 

- 

- 

104 

Sartain,  William 

- 

171 

McEntee,  Jervis, 

- 

- 

40 

Schaffer,  August, 

- 

1 39 

Malbone,  Edward  G., 

- 

- 

267 

Scheffer,  Ary,  - 

- 

1  5  1 

Mathews,  William  T., 

220, 

223, 

224 

Schreyer,  Adolph, 

- 

94 

Mayer,  Frank  B., 

- 

- 

I  23 

Siebert,  Edward  S.,  - 

- 

169 

Mengs,  Raphael, 

- 

- 

138 

Smillie,  George  H.,  - 

1  I 

,  '7 

Messer,  Edmund  C.,  - 

- 

- 

48 

Stanley,  J.  M.,  - 

- 

144 

Menpes,  Mortimer,  - 

- 

176, 

177 

Stuart,  Gilbert, 

-  228, 

229 

Minor,  Robert  C. , 

- 

- 

43 

Sully,  Thomas,  1 33,  225, 

256,  260, 

265 

Moeller,  Louis,  - 

- 

- 

4' 

T ait,  Arthur  F., 

- 

158 

Moretti,  Antonio, 

- 

89 

,  93 

Tilton,  John  R., 

- 

32 

Morland,  George, 

- 

- 

109 

Troyon,  Constant, 

- 

69 

Morot,  Aime  N., 

- 

- 

82 

Truesdell,  Gaylord  S., 

- 

9 

Mount,  William  S.,  - 

- 

- 

34 

Try  on,  Dwight  W.,  - 

- 

59 

Muller,  Charles  L.,  - 

- 

- 

70 

Uhl,  S.  Jerome, 

- 

222 

Muller-Ury,  A., 

- 

- 

254 

Ulke,  Henry, 

- 

218 

Murphy,  J.  Francis,  - 

- 

- 

52 

Ulrich,  Charles  F., 

- 

49 

Neagle,  John,  - 

- 

- 

234 

Vail,  Eugene  L., 

- 

'54 

INDEX  OF 

ARTISTS. 

157 

No. 

No. 

Vanderlyn,  John, 

-  212,  24I 

Weber,  Paul,  ... 

-  128 

Van  Marcke,  Emile,  - 

-  S3,  182 

Weeks,  Edwin  L.,  - 

-  33 

Vely,  Anatole,  - 

80 

Weyl,  Max, 

-  35 

Venneman,  Charles  F., 

I  26 

Whittredge,  Worthington, 

-  29 

Vibert,  Jean  C., 

-  74 

Wyant,  Alexander  H., 

-  184 

Volk,  Douglas, 

-  -  58 

Wylie,  Robert, 

-  5' 

Van  Thoren,  Otto,  - 

-  -  84 

Zeim,  Felix, 

98.  '74 

Waldo,  Samuel, 

-  253 

INDEX  OF  PAINTINGS. 


No. 

No. 

A  Taper  to  Saint  Genevieve, 

1 88 

Catskills,  Trout  Brook  i 

in,  - 

29 

Accused  of  Witchcraft, 

s8 

Cattle  on  Sea-Shore,  near  Schev- 

Adams,  John,  Portrait, 

202 

eningen,  - 

- 

75 

Adams,  John  Quincy,  Portrait,  - 

206 

Charlotte  Corday  in  Prison, 

79 

Adige,  Banks  of  the, 

100 

Child,  Portrait  of, 

- 

266 

Adoration  of  Shepherds, 

138 

Clay,  Henry,  Portrait, 

- 

226 

Afternoon  in  early  June,  - 

1  2  1 

Clay,  Henry,  Portrait, 

- 

258 

Alexander  11  of  Russia,  etc., 

1  5  6 

Cleveland,  Grover,  Portrait, 

222 

Allegro  and  Penseroso, 

16 

Coast  of  New  Jersey, 

- 

I  2 

Amazon  and  Her  Children, 

22 

Cockpit,  Issue  of  the, 

- 

39 

Anthony,  Miss  Susan  B.,  Portrait, 

227 

Concarneau,  Road  to, 

- 

53 

Approaching  Night,  - 

35 

Constantinople  from  the  Golden 

Approaching  Storm, 

96 

Horn, 

- 

98 

Arthur,  Chester  A.,  Portrait, 

22 1 

Corcoran,  William  W., 

Portrait, 

1 

Autumn  Afternoon  on  Lake 

Count  Eberhard  of  Wi 

urtemberg 

George,  - 

2  3 

(The  Weeper),  - 

- 

'5' 

Autumn  on  Massachusetts  Coast, 

1 1 

Cows  in  Meadow, 

- 

182 

Autumn  Scene  on  the  Hudson,  - 

13 

Cromwell  and  Milton, 

- 

30 

Autumnal  Corn  and  Grapes, 

1  27 

Custis,  G.  W.  Parke,  Portrait,  - 

255 

Baldart  Castle,  Kilkee,  Ireland,  - 

1 80 

Deepening  Shadows,  The  - 

38 

Ball  Playing  among  the  Sioux 

Departure,  The, 

- 

2 

Indians,  - 

136 

Departure  for  the  Hunt, 

India,  - 

33 

Banks  of  the  Adige,  - 

100 

Difficult  Task,  The, 

- 

122 

Bavarian  Prisoners,  French  Cuir¬ 

Disagreement, 

- 

4' 

assiers  bringing  in, 

'37 

Disputed  Shot, 

- 

'44 

Beach  at  Scheveningen,  Holland, 

65 

Distributing  Supplies, 

- 

1 19 

Bertha, . 

185 

Dog  and  Parrots, 

- 

'43 

Brittany,  Fortune  Teller  of, 

5  1 

Dream,  The, 

- 

1 64 

Brittany  Widow,  - 

101 

Drinking  Place, 

- 

69 

Bryant,  William  Cullen,  Portrait, 

233 

Drought  in  Egypt,  - 

- 

'47 

Buchanan,  James,  Portrait, 

215 

Drove  at  the  Ford,  - 

- 

28 

Bull  (Rosa  Bonheur), 

181 

Duck  Shooting, 

- 

37 

Bull  Dog,  Head  of,  - 

'59 

Durand,  A.  B.,  Portrait 

,  - 

236 

Caesar  Dead,  - 

'57 

Eastern  Sky  at  Sunset, 

- 

40 

Calhoun,  John  C.,  Portrait 

240 

Edge  of  the  Forest  (Dewey), 

5° 

Calhoun,  John  C.,  Portrait, 

25  I 

Edge  of  the  Forest  (Durand), 

26 

Cardinal  Questioning  Acolytes,  - 

8l 

Edict  of  William  the  Testy, 

18 

Castle  Gondolfo,  Lake  Albano,  - 

'45 

Effect  of  Snow, 

- 

172 

Catskills,  Scene  in,  - 

128 

Egypt,  Drought  in,  - 

- 

'47 

INDEX  OF  PAINTINGS. 


No. 


El  Bravo  Toro,  -  -  -  82 

Emigrant’s  Letter,  -  -  -  168 

End  of  Day,  -  -  -  -  59 

Eventide,  43 

Family  of  Satyrs,  -  -  -  153 

Farm  House,  -  109 

Female  Head,  -  -  -  1  12 

Festival  of  Santa  Lucia,  Naples,  149 
Fete  of  St.  John,  -  146 

Fillmore,  Millard,  Portrait,  -  213 

Fine  Weather,  70 

Flower  Piece  (with  Cat),  -  60 

Flower  Piece,  -  -  -  -  129 

Flute  Player,  -  -  -  169 

Fontainbleau,  Scene  at,  -  -  66 

Forester’s  Home,  90 

Forest,  Edge  of  the  I  Dewey),  -  50 

Forest,  Edge  of  the  (Durand),  -  26 

Forest  and  Stream,  -  165 

Fortune  Teller,  -  -  -  104 

Fortune  Teller  of  Brittany,  -  51 

Forum,  From  the  Tabularium, 

Rome,  89 

Foster,  Lafayette  S.,  Portrait,  -  263 

Franklin,  Benjamin,  Portrait,  -  238 

French  Cuirassiers  bringing  in 

Bavarian  Prisoners,  -  -  137 

Fruit  (Preyer),  -  -  -  -  105 

Fruit  (Saint  Jean),  76 

Fun  and  Fright  (The  Mask),  -  62 

Garfield,  James  A.,  Portrait,  -  220 

General  of  the  First  Empire,  -  173 

Genesee  River,  High  Bank  of,  -  19 

Geneva  Conference,  -  -  155 

Girl  and  Pets,  -  -  -  -  160 

Going  to  Pasture,  9 

Grant,  Ulysses  S.,  Portrait,  -  218 

Grant,  Gen.  Ulysses  S.,  Portrait,  254 
Great  Oak,  Pond  of  the,  88 

Guizot,  M.  F.  P.  G.,  Portrait,  -  268 

Hamlet  on  the  Seine,  -  85 

Happy  Family,  -  -  -  113 

Harbor  of  New  York,  -  -  21 

Harrison,  Benjamin,  Portrait,  -  223 

Harrison,  Wm.  H.,  Portrait,  -  209 


I  S9 
No. 


Hayes,  Rutherford  B.,  Portrait  -  219 

Head  of  a  Bull  Dog,  -  -  159 

Heir  Presumptive,  4 

Helping  Hand,  -  -  -  117 

Henry,  Joseph,  Portrait,  -  -  235 

High  Bank,  Genesee  River,  -  19 

Hudson,  Autumn  Scene  on  the,  13 
Humboldt,  Baron,  Portrait,  -  242 

Hungarian  Forest,  Sunset  in,  -  139 

Ideal  Female  Head,  -  133 

Ideal  Head,  -  130 

Interior,  -  -  -  -  -  110 

Interior,  -  -  -  -  111 

Issue  of  the  Cockpit,  39 

Jackson,  Andrew,  Portrait,  -  207 

Jackson,  Gen.  Andrew,  Portrait,  225 
Jackson,  Gen.  T.  J.,  Portrait,  -  235 

Jefferson,  Thomas,  Portrait,  -  203 

Joan  of  Arc  in  Infancy,  73 

Johnson,  Andrew,  Portrait,  -  217 

Johnson,  Col.  Richard  M.,  Por¬ 
trait,  -  234 

Judgment  of  Paris,  10 

Justice  to  Levin  Pyn,  -  95 

Kendall,  Amos,  Portrait,  -  -  257 

Kendall,  Mrs.  Amos,  Portrait,  -  259 

Lady  and  Dog,  8 

Lake  George,  47 

Lake  George,  Autumn  Afternoon 

on,  -----  23 

Lake  Scene  near  Lenox,  Mass.,  -  134 

Land  of  Promise,  Castle  Garden,  49 
Landscape  (Cazin)  -  -  175 

Landscape  (Courbet),  -  -  87 

Landscape  (Doughty),  -  -  15 

Landscape  (C.ignoux),  -  -  141 

Landscape  (Illness),  -  -  -  161 

Landscape  (Wyant),  -  -  184 

Landscape  with  Cattle  (Robbe),  135 
Landscape,  with  Cattle  (Van 

Marcke),  -  -  -  -  83 

Lasteyrie,  M.,  Portrait  -  -  246 

Lee,  Gen.  Robert  E.,  Portrait,  -  237 

Leisure  and  Labor,  -  -  123 

Lincoln,  Abraham,  Portrait,  -  216 


160 


INDEX  OF  PAINTINGS. 


No. 

Long  Island  Farm,  -  -  17 

Longshoreman’s  Noon,  -  -  37 

Long  Story,  34 

Lorette,  -  -  -  -  -  140 

Lost  Dogs,  84 

Loudoun,  Sunset  in,  48 

McGuire,  James  C.,  Portrait,  -  232 

McKenney,  Col.  Thomas,  Por¬ 
trait,  -  -  -  -  230 

McKinley,  William,  Portrait,  -  224 

McLane,  Robert  M.,  Portrait,  -  247 
Madison,  James,  Portrait,  -  -  204 

Madison,  James,  Portrait,  -  -  265 

Magdalena  River  (Grenada),  Scen¬ 
ery  of  -  -  -  167 

Malbone,  Edward  G.,  Portrait,  -  267 

Marshall,  Chief  Justice  John,  Por¬ 
trait,  -  -  -  -  236 

Mask,  The  (Fun  and  Fright),  -  62 

Massachusetts  Coast,  Autumn  on,  1 1 
Maury,  Commodore  M.  F.,  Por¬ 
trait,  -  262 

Mercy’s  Dream,  -  -  -  54 

Mid-Day  Dreams,  25 

Model,  The,  -  -  -  -  186 

Monk  Fishing,  77 

Monroe,  James,  Portrait,  -  -  203 

Montefiore,  Sir  Moses,  Portrait,  249 

Moonlight  in  Holland,  -  -  97 

Moonrise  in  Madeira,  -  -  114 

Morrill,  Justin  S.,  Portrait,  -  243 
Mother  and  Child,  -  187 

Mount  Corcoran,  -  -  -  46 

Mount  Washington  (Sketch),  -  162 

Nailmakers,  -  -  -  113 

Nedjma-Odalisque  (Saint  Pierre),  80 

New  Jersey,  Coast  of,  -  -  12 

New  York,  Harbor  of,  -  -  21 

Niagara  Falls,  24 

Night,  -----  78 

Night  Approaching,  35 

October,  -  -  -  -  52 

Odalisque- (Lazarus),  -  -  14 

Odalisque,  Nedjma  (Saint  Pierre),  86 

Old  Castle  in  Bavaria,  -  -  142 


No. 


Old  Shepherd,  The,  -  -  -  179 

On  the  Coast  of  New  England,  -  178 

Paddy’s  Mark,  -  -  -  61 

Page,  Mrs.  R.  C.  M.,  Portrait,  -  231 

Page,  William,  Portrait,  -  -  245 

Parthenon,  Ruins  of,  -  -  31 

Passing  Regiment,  -  -  -  63 

Pastoral  Visit,  7 

Peabody,  George,  Portrait,  -  253 

Pierce,  Franklin,  Portrait,  -  -  214 

Pincian  Hill,  Rome,  -  -  81 

Polk,  James  K.,  Portrait,  -  -  211 

Pond  of  the  Great  Oak,  -  -  88 

Pope  Julius  II,  with  Raphael,  M. 

Angelo,  and  others,  -  -  102 

Portrait  (Unknown),  -  -  248 

Preparing  for  Church,  -  -  103 

Procession  of  the  Sacred  Bull, 

Apis-Osiris,  -  -  -  20 

Pyn,  Levin,  Justice  to,  -  93 

Quail  and  Young,  -  -  -  158 

Randolph,  John,  Portrait,  -  -  261 

Ready  About,  -  -  -  -  154 

Rebecca  at  the  Well,  -  36 

Relief  Ship,  -  -  -  -  118 

Return,  The,  3 

Return  from  Market,  -  -  131 

Road  to  Concarneau,  53 

Roman  Girl,  Unfinished  Head,  -  125 

Rome,  -----  107 

Ruins  of  the  Parthenon,  -  -  31 

Sacred  Bull,  Procession  of,  -  20 

Saint  John,  Fete  of,  -  146 

Saint  Peter’s,  -  -  -  -  93 

Saint  Pierre,  J.  H.  B.  de,  Portrait,  230 

Santa  Lucia,  Naples,  Festival  of,  149 

Satolli,  Cardinal,  Portrait,  -  -  252 

Satyrs,  Family  of,  -  -  153 

Scene  at  Fontainbleau,  -  -  66 

Scene  in  the  Catskills,  -  128 

Scene  near  Lenox,  Mass.,  -  -  134 

Scenery  of  the  Magdalena  River, 

Granada,  S.  A.,  -  -  167 

Scheveningen,  Holland,  Beach 

at,  -  -  -  -  65 


INDEX  OF  PAINTINGS. 


No. 


Schism,  The,  74 

Seine,  Hamlet  on  the,  -  -  85 

Seine,  Valley  of,  from  Giverny 

Heights,  -  -  -  45 

Shakespeare  and  his  Contem¬ 
poraries,  -  -  -  91 

Shepherds,  Adoration  of,  -  -138 

Shippen,  Chief  Justice  Edward, 

Portrait,  -  -  -  -  229 

Shower,  A,  -  -  -  71 

Snow  Scene  (Loir),  -  -  -  172 

Snow  Scene,  Moonrise,  99 

Souvenirs  of  the  1 6th  and  17th 

Centuries,  -  -  -  -  148 

Spring  Landscape,  04 

Springtime,  -  -  -  -  55 

Stone,  Horatio,  Portrait,  -  -  264 

Storm,  Approaching,  96 

Street  in  Cairo,  -  -  -174 

Street  in  Dinan,  Brittany,  -  -  171 

Study  of  a  Torso,  -  -  183 

Sully,  Thomas,  Portrait,  -  -  260 

Sunday  Morning  in  Auvergne,  -  106 

Sunset,  -  -  -  -  -  152 

Sunset  iir  Hungarian  Forest,  -  139 

Sunset  m  Loudoun,  48 

Sunset  in  the  Woods,  27 

Talking  Well,  -  -  -  -  80 

Task,  Difficult,  -  -  -  122 

Taylor,  Zachary,  Portrait,  -  -  2 1 2 

Taylor,  Zachary,  Portrait,  -  -  241 

Tivoli, . 108 

Top  of  the  Hill,  44 

Tornado,  The,  6 


l6l 

No. 


Trout  Brook  in  the  Catskills,  -  29 

Twilight  (Harrison),  -  -  -  5 

Twilight  (Japy),  -  -  -  72 

Tyler,  John,  Portrait,  -  -  210 

Unfinished  Head  of  a  Roman  Girl,  12s 
Unhappy  Family,  -  -  -  116 

Valley  of  the  Seine  from  Giverny 

Heights,  -  -  -  -  45 

Van  Buren,  Martin,  Portrait,  -  208 

Van  Ness,  Mrs.  Gen.  John  P., 

Miniature,  -  -  -170 

Vase  of  Flowers,  -  132 

Venetian  Balcony,  -  -  -176 

Venetian  Fishing  Boats,  -  -  32 

Vespucci,  Amerigo,  Portrait,  -  244 

Vestal  Tuccia,  -  -  -  -  68 

Village  Doctor,  -  -  -  126 

Virgin  and  Child,  -  -  124 

Vista,  The,  -  -  -  -  >77 

Washed  Ashore,  -  -  -  42 

Washington,  George,  Portrait,  -  200 

Washington,  George,  Portrait,  -  228 

Washington,  Martha,  Portrait,  -  201 

Washington’s  Headquarters  on 

the  Hudson,  -  -  -  1 66 

Watering  Place,  94 

Wedding  Festival,  -  -  -  67 

Westover  Mansion,  The  Old,  -  50 

William  the  Testy,  Edict  of,  -  18 

Witchcraft,  Accused  of,  -  -  58 

Wood  Gatherers,  -  -  -  92 

Wood  Scene  with  Hunters,  -  163 

Woods,  Sunset  in  the,  -  -  27 

Young  Savoyard  Musician,  -  120 


GENERAL  INDEX. 


Board  of  Trustees  and  Officers,  - 
History  of  The  Corcoran  Gallery  of  Art, 
Plans  of  the  Building,  - 
Description  of  the  Building, 

Paintings,  ------ 

Portraits, . 

Casts  from  Antique  Sculpture, 

Casts  from  the  Renaissance 
Casts  from  Modern  Sculpture, 

Marbles,  ----- 

Bronzes, . 

Cloisonne, . 

Porcelains  and  Glass,  -  -  - 

Electrotype  Reproductions, 

Index  of  Artists,  -  -  -  - 

Index  of  Paintings,  -  -  -  - 


